Studio AIR Lai sze kei 794897 by Joyce Lai

STUDIO AIR 2018, SEMESTER 1, MATTHEW DWYER Sze Kei Lai 794897

PART A CONCEPTUALISATION

CONTENTS 4-5

INTRODUCTION

6-11

A.1 DESIGN FUTURING

12-17

A.2 DESIGN COMPUTATION

18-23

A.3 COMPOSITION AND GENERATION

24-27

A.4 ALGORITHMIC EXPLORATION

A.5 CONCLUSION

A.6 LEARNING OUTCOME

30-33

A.7 RESEARCH - ROYAL PARK AND LADYBIRD

34-35

REFERENCE

SZE KEI LAI From Hong Kong

am Joyce, a third-year architecture major student at the University of Melbourne. I am from Hong Kong and come to Australia for my tertiary education. My interests outside of architecture do not stray to far from the field - such as photography, drawing and handicraft. For me architecture is about the relationship between human and space. Though it sounds a bit vague, space actually affects human whether directly or indirectly. As things are getting digitalized nowdays, it is necessary for me to get used to use digital modelling software, such as Rhino and Autocad. By learning these softwares, I have developed a stronger interest in the context of space and experienced induced. The way a building is represented and how it is connected to the surrounding are something I think is crucial for an architecture. In the past two years, the university courses guided me through a variety of concepts and skills. I consider myself knowledgeable in theories but still in an explorative stage of technical software. Despite of having modelling experience in Rhino, through Visualising Environments, Digital Design and Fabrication and other studios. I believe studio air is a great opportunity to sharpen my 3D modelling techniques and to articulate design outcomes more specifically focus on abstract forms which helps to broaden my perception towards architecture. Through revisiting Rhino and learning Grasshopper in this course, I hope to gain more confidence in using these tools so as to enrich my architectural ideas and discover an algorithmic process for design.

4 INTRODUCTION

DANCE SPACE Previous Experience

Fig 1. Front view of second skin model

Fig 2. Side view of second skin model

his is a second skin project that I have done in Digital Design and Fabrication course in my second year. The main theme of the course is to make an wearable object to create personal space. While ‘skin and bone’ is the way that I have chosen to create the model.

This design is comprised of the bone and skin system, with clear perspex acting as the bone and white elastic string as the skin. Each element of the model is tilted to an angle in order to replicate some form of dynamism like swirling on a dance floor. The main focus of the design is the form that the skin creates. The bones are all joined together by the skin, where without it, it would seem bare and insignificant and collapse without its support. The model is inspired by the personal space when a person is dancing. The bone is done by laser cutting while the strings are threaded manually afterwards. The reason that I have chosen to laser cut the skin is because reduction is crucial to ensure the elimination of redundancies and to rasie the maximum efficiency. By using Rhino to model up the bone, it is easier to make changes and try out different designs in a short amount of time. Fig 1. Lai, ‘Front view of second skin’, 2017

Fig 3. Second skin digital model

The high precision and replication of using digital application leads to success in the transition of the design in Rhino to the real world. Precision is crucial for the location of the holes for elastic strings to pass through it. If they are in randon positions that do not comply with the design in the computer, the final shape will be ruined. The high accuracy of the curves of the shoulder pieces allows it to sit properly and firmly onto the model’s shoulder so it will not fall off easily during presentation and performance. Through the second skin project, I was introduced to a new discipline that 3D modelling skills can be used to work on other kinds of fabrications. It also represents a wider architectural discipline because it posses a lot of quality of design which responses to the surrounding context. This project again reminds of the relationship of architecture and human. I consider this course is greatly related to studio air not only because of the use of Rhino, but the way of logical thinking process. The focus of parametric design in this course will surely unleash my abstract form of architectural ideas. I am looking forward to exploring more digital design outcomes and motivating myself to gain a higher understanding of theories to contribute to the field of architecture.

Fig 2. Lai, ‘Side view of second skin’, 2017 Fig 3. Ren, ‘Second skin digital model’, 2017

INTRODUCTION 5

A.1 DESIGN FUTURING

CONCEPTUALISATION

rchitectural as discourse is an everchanging theoretical thinking which is critiqued and analysised. These set of principles and ideas can motivate and lead architecture to move forward by creating a new intellectual framework. In the past, the discourse is only related to architects and engineers. However, the modern debate has spreaded and included professions from different fields, such as mathematician, political scientists, economists and so on.

Additionally, Vidler stated that ‘any serious “rethinking” of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional typologies’2, this again states that it is necessary to change our values, beliefs, attitudes, and behaviours towards different kinds of designs. By breaking the traditions, the architecture discourse can be genuinely opened and further explored.

What is the power of architecture? Architecture does not only lies between aesthetics and construction, instead it has embedded functional and socio-political qualities. Williams considers architecture as a ‘network of practices’ and ‘material facts are a small part of the overall field’1. This shows that it is too superficial if we see architecture as a building and define it with just a single meaning. Besides, it also describes the importance of architecture that there are linkages between the political, social and physicial by taking an organic perspective to perceive architecture. This reminds the need of debate to open up new perspectives and to create space for dicussions to allow possibilities to anyone other than architects to contribute.

Besides breaking the tradition, another thing that contributes to architecture discourse is that the breaking down of boundaries between architecture, other areas and fields. Schmacher noted that ‘architecture as a system of communications is neither a mere collection of artifacts, nor a mere form of knowledge, nor merely a particular professional practice. Rather it emcompasses all three categaries: artifacts, knowledge and practices’3 The above statement demonstrates that architecture can break down historical and theoretical boundary. This also tells that architectural language can be pass on and read in different forms of information. The following innovative projects will be introduced so as to strengthen my arguement. Innovative buildings is not only about the technique it used, it is about how it responds to the surrounding.

1. Williams, Richard. ‘Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts’ (Edinburgh: Edinburgh University Press, 2005), pp.115 2. Vidler, Anthony. ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’ (Harvard: Harvard Desgin Magazine no.11, 2000), pp.3 3. Schumacher, Patrik. ‘The Autopoiesis of Architecture: A New Framework for Architecture’ (Chichester: Wiley, 2011), pp.1

CONCEPTUALISATION 7

THE PLUG-IN CITY Architect: Peter Cook, Archigram Location: Unbuilt Year: 1964

Fig 4. The Plug-In City

his project is one of the representations of design futuring as it offers a fascinating new approach towards urbanism. Though this city has never been built, it has provoked debates since it tries to combine architecture with society and technology. Why is this idea so provocative? That is because it questions people’s perception towards the concept of a city. It introduces modular residential units that ‘plug in’ to a central mega machine, while the whole city is a constantly evolving infrastructure that incorporates with transportation, reisdences and other services - all movable by cranes.

Such revolutionary idea was not being accepted by people at that time because they think it is too unrealistic. That is because they do not have such technology back in those times. However, as the society is developing, the Plug-In City could become our future design. As Dunne’s reading mentioned, ‘When people think of design, most believe is about problem solving’4, this indicates that the Plug-In city was designed based on the problems people were facing at that time but it is still applicable to the problem we are now facing nowadays, like overpopulation, climate change etc.

4. Dunne, Anthony & Raby, Fiona. ‘Speculative Everything: Design Fiction, and Social Dreaming’ (Cambridge: MIT Press, 2013), pp.2 Fig 4. MoMA, ‘Archigram’, <https://www.moma.org/collection/works/797>[accessed 28 February 2018]

CONCEPTUALISATION

The Plug-In City has shown that Archigram has been imaginative and inventive towards the future. Their approach and attitude is the utmost important thing when designing future. It creates space for discussion which leads to critical thinking when designing. This project is also a critical design that it brings us on an intellectual journey based on challenging values and ideas and there is where we start to be skeptical. These shocking thoughts builds up our intellectual framework which needs us to unlock our imaginations so that we can critique and reflect when it comes to pros and cons of extreme life extension.

From the reading ‘Specutive Everything: Design Fiction, and Social Dreaming’, it states ‘We were left wondering how this spirit could be reintroduced to contemporary design and how designer’s boundaries could be extended beyond the strictly commercial to embrace the extreme, the imaginative, and the inspiring.’5 This tells us that it is crucial to keep our open mind to accept new ideas so as to move forward. While this project has explicitly show an extreme idea of how a city can be and at the same time it challenges people’s perception. Cook expanded the future possibilities by breaking down traditional thoughts and trying out different possibilities, his futuristic idea influences people’s values, beliefs, attitudes and even behaviour. Even though it was not built in those times, it has successfully inspired the Pompidou Centre by Richard Rogers and Renzo Piano which suggests revealing infrastructural elements that reverses the traditional building hierarchy. Archigram’s drawings and visions continue to provoke urban thinking nowadays.

Fig 5. Overall view of the Plug-In City

Fig 6. The Plug-In City

5. Dunne, Anthony & Raby, Fiona. ‘Speculative Everything: Design Fiction, and Social Dreaming’ (Cambridge: MIT Press, 2013), pp.6 Fig 5. Archdaily, ‘AD Classics: The Plug-In City/ Peter Cook, Archigram’, <https://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram>[accessed 28 February 2018] Fig 6. Jon Astbury, ‘14 Pivotal Architecural Drawings’ , <https://www.architectural-review.com/today/14-pivotal-architecture-drawings/8657619.article>[accessed 28 February 2018]

EDEN PROJECT Architect: Nicholas Grimshaw Location: Cornwall, England Year: 2003

Fig 7. The overall view of Eden Project

he former site use of Eden Project was a clay pit which was about to be abandoned as its economic life has come to an end. Human has exhausted the natural resources from places to places and eventually left deserted. However, the Eden Project has successfully made a change. The hexagonal structure of bubbles set on the terrain and stand out from the landscape. When we are looking it from a distance, it gives us a great sense that the bubbles are trying to integrate into the valley. Not only the structure tries to merge with nature, so do the function of it. The primary duties of the Eden Project is to display plants from a diverse environment and to create an artificial climate by the huge ‘Biomes’. The soil within the ‘Biomes’ was a combination of organic matter and local waste from composted bark6. (Fig. 8)

From the above mentioned, we can notice that no matter the structure’s shape and the composition within the domes, the project has tried to mimic the life cycle of the nature. This reminds me of Fry’s reading, ‘Design futuring has to confront two tasks: slowing the rate of defuturing and redirecting us towards far more sustainable modes of planetary habitation.’7 The Eden Project has shown us new possibilities and approach by recreating and regenerating the nature within this industrialised world. There are several green features that make this project sustainable, including super insulation to keep the plants warm, energy generation that lowers the energy consumption and water harvasting to as to reduce the water use. The above features indicate that they matches to Fry’s ‘sustainable modes of planetary habitation’.

6. Eden Project. ‘Sustainable Construction in Eden’, Eden Project, <http://www.edenproject.com/eden-story/behind-the-scenes/sustainable-construction-at-eden>[1 March 2018] 7. Fry, Tony. ‘Design Futuring: Sustainability, Ethics and New Practice’ (Oxford: Berg, 2008), pp.6 Fig 7. Eden Project, ‘Eden Project’ , <http://www.edenproject.com/visit/buy-tickets>[accessed on 1 March 2018]

CONCEPTUALISATION

The Eden Project does not only serve as an architectural project, but also an educational agency. Its programme aims to influence people’s value and focuses on educating children through organising visits, school of gardening and even green cooking classes which inspires the new generations and passes on the concept of sustainability. This project has brought up new ideas of how an architecture can merge with the environment in a brand new way and at the same time provide inhabitants a new place to stay. Fry has mentioned ‘As damage to the planet’s ecological systems - triggered by human actions - continually increases, there is a pressing need for the way we human beings live, act and engage the world around us, to change.’8 The project has explicitly shows the change it is trying to cope with the surroundings and maintain the sustainability of the ecological cycle. Fig 8. The construction of ‘Biomes’

Though some people may criticised that this structure is only a mimic of the ecological world and does not solve the problem at all. However, people are getting more concern about the nature nowadays that I think the Eden Project is speculating the future. Even though this project may not be the best design we want at the moment, it reminds us that we have to design fearlessly and take the environment into account when designing so as to gradually change our current situation.

Fig 9. Interior of ‘Biomes’

8. Fry, Tony. ‘Design Futuring: Sustainability, Ethics and New Practice’ (Oxford: Berg, 2008), pp.12 Fig 8. Eden Project, ‘Timeline’ , <http://www.edenproject.com/eden-story/eden-timeline>[accessed on 1 March 2018] Fig 9. Eden Project, ‘Visit Eden Project - Two Adults, Two Children’, <https://www.virginexperiencedays.co.uk/visit-the-eden-project-two-adults-two-children>[accessed on 1 March 2018]

CONCEPTUALISATION 11

A.2 DESIGN COMPUTATION

Due to the emergence of the use of computer in architecture in the past 50 years, it pushes the evolution of design and logic of thinking to another level. As Oxman proposed that digital theories actually brings Vitruvian Effect back to architecture - a continuous logic of design thinking and making.9 Building were constructed but not planned before Renaissance, which means design cannot be separated from construction. Architects have to look after the whole project in those times. However, as the building design become more and more complicated, it is inevitable to the division of specialization. Since it is difficult for the initial architecture to look over each part of the project and may overlook some problems which may lead to undesired outcomes. The division of different fields may cause discontinuity in the workflow. Yet the emergence of digital technology creates such continuum for architects to test out their designs again, from the form generation, evaluation of performance, materialization and fabrication. There are basically two kinds of computer involvements in architecture, computerisation and computation. As Terzidis suggested computerisation is that an architect uses computer as an platform to generate, edit and copy drawings quickly and precisely10, which is one of the benefits of the use of computer in architecture.

While computation means using softwares to help to create forms that is designed through the limitations set within the framework where parameters determines the interactions between data input within the framework. This method requires a depth of knowledge of the complexity in the use of software which makes it not as common as computerisation. However, computation aids to create complex geometries and structure in architecture which is another advantage of using computer in architecture. The design process evolves with the rise of computation that it reverses the design practice. Structures are originally predesigned before inputing them into the computer, but people nowadays can set out a framework within softwares and generate designs from the definition of data with parameters. Only designs that fit into the framework will be generated which will save up a lot of time for architects. As the difficulty of this analytical and rational process is not obtain information itself, but rather organising it in a manner that will be useful for the following steps in design process.11

9. Oxman, Rivka and Robert Oxman, eds. ‘Theories of the Digital in Architecture’ (New York: Routeledge, 2014), pp.2 10. Terzidis, Kostas. ‘Algorithmic Architecture’ (Oxford: Architectural, 2006), pp.17 11. Kalay, Yehuda E. ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press, 2004), pp.11

CONCEPTUALISATION

The introduction of algorithmic thinking from Kalay’s article is that it is an iterative thinking that does not rely on computers.12 Designing is never merely a problem solving process but it always comes with side effects, uncertainties and undesired outcomes. Kalay has invented a way to resolve problems during the design process that consist of analysis, synthesis, evaluation and communication.(Fig. 10) We should first analysize the problem and generate a large number of solutions. Then, by testing the solutions against constrains, a large number of candidates will be eliminated and the remaining ones will be the most satisfying solutions. This way of thinking is very rational and logical that architects are turned into search engines. This is why Kalay also suggested people should use their intuitional ability to do the decision making and principle setting part while iteration part is left to the computer. In this way, human’s and computer’s ability can be combined to work on a project.

Fig 10. Design process invented by Kalay

Another algorithmic design process is being mentioned breath first or depth first.(Fig. 11) I see this as an reminder that as a designer should keep on evaluating their work and go forth and back to redirect the designing track. Through out such reflection and adjustment in the design process, we can change our design methods and research accordingly so as to achieve a better outcome.

Fig 11. Breadth or depth first design process

12. Kalay, Yehuda E. ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press, 2004), pp.7 Fig 10. Kalay, Yehuda E. ‘The major components of the architectural design process’ in ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press, 2004), pp.10 Fig 11. Kalay, Yehuda E. ‘Breadth or depth’ in ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press, 2004), pp.19

CONCEPTUALISATION 13

GUGGENHEIM MUSEUM BILBAO Architects: Gehry Partners Location: Bizkaia, Spain Year: 1997

Fig 12. Guggenheim Museum Bilbao

his project is an example of using digital technology as it is noticeable that the curves cannot be done by human calculation. By using the CATIA (Computer Aided Three-dimensional Interactive Application)13, which is a computer software originally designed for aircraft design and manufacture, Gehry was able to create this building’s trademark - the undulating curves and nonrepetitive geometries. The use of this software shows computerisation that allows ‘file to factory’ where lesser paper sketches are needed in its manufacturing of the components. This provides a new option of manufacturing that it gives a convergence of the representational and manufacturing process which turns a building designer into both a designer and builder.14

The emergence of the digital technology helps architects by greatly increased in productivity and raised the precision of the building design. It also allows freedom in design some complex geometries without calculation mistakes which helps architects to be braver to try out new forms and ideas. With the aid of computer software, Gehry is able to create complex and non-monotonic geometries, the detail of the surfaces, the curvilinear surface and volume that was the characteristic determinant of the experiemental architecture of that period15, this satisfies Lynn’s saying ‘a more fluid logic of connectivity’.16

13. FMGB Guggenheim Bilbao Museoa. ‘The Construction’, FMGB Guggenheim Bilbao Museoa <http://www.edenproject.com/eden-story/behind-the-scenes/sustainable-construction-at-eden>[5 March 2018] 14. Oxman, Rivka and Robert Oxman, eds. ‘Theories of the Digital in Architecture’ (New York: Routeledge, 2014), pp.5 15. Pagnotta, Brian. ‘AD Classics: The Guggenheim Museum Bilbao/ Gehry Partners’, ArchiDaily < https://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry> [5 March 2018] 16. Lynn, Greg. ‘Folding in Architecture’ (West Sussex: Wiley-Academy, 1993), pp.10 Fig 12. Wikimedia Commons, ‘Guggenheim Museum’ , <https://commons.wikimedia.org/wiki/File:Guggenheim_Museum,_Bilbao,_July_2010_(06).JPG>[accessed on 5 March 2018]

CONCEPTUALISATION

Moreover, CATIA digitised points on surfaces, edges and intersections of Gehry’s hand-built models to construct digital models17 that can be manipulated easily in the computer which allows architect to change things effectively and save up a lot of time to have an overall picture of how the building will look after amendments. I believe the greatest advantage of 3d model is that it allows designer to alter and change easily, over the traditional design process that to redesign the whole project again. While the another benefit of parametric design is that sometimes our inputs will result in unexpected outcomes which may be a positive outcome. This encourages people to keep trying until it results in what they desire. As the building’s walls and ceilings are load-bearing, it requires metal rods to form grids with triangles for support. (Fig. 14) CATIA helps to calculate the number of rods in each location, bars’ positions and orientations.18 This helps to reduce manual calculation and the chances of getting error during construction. I believe this process show computation that scripting and coding is required when inputting the data to the software so as to result in a correct calculation in a proper and precise position.

Fig 13. Construction of the Museum

Fig 14. Triangles for support

Despite of all the advantages and convenience brought by the technological development, architects may still be limited when using the softwares to design as they are programmed by programmer that architects may not be very familiar to, this will then cause the limitation of creativity. This is also the reason why Burry proposed architects need to be more familiar with scripting.19 When architects can master scripting, they will then have full control over their projects. In this way, the design process will become a bottom-up one that truly give architects freedom to design.

Fig 15. Construction of the Museum

17. Pagnotta, Brian. ‘AD Classics: The Guggenheim Museum Bilbao/ Gehry Partners’, ArchiDaily < https://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry> [5 March 2018] 18. Pagnotta, Brian. ‘AD Classics: The Guggenheim Museum Bilbao/ Gehry Partners’, ArchiDaily < https://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry> [5 March 2018] 19. Burry, Mark. ‘Scripting Cultures: Architectural Design and Programming’ (West Sussex: Wiley, 2011), pp.8 Fig 13. FMGB Guggenheim Bilbao Museoa. ‘The Construction’ , <https://www.guggenheim-bilbao.eus/en/the-building/the-construction/>[accessed on 5 March 2018] Fig 14. FMGB Guggenheim Bilbao Museoa. ‘The Construction’ , <https://www.guggenheim-bilbao.eus/en/the-building/the-construction/>[accessed on 5 March 2018] Fig 15. FMGB Guggenheim Bilbao Museoa. ‘The Construction’ , <https://www.guggenheim-bilbao.eus/en/the-building/the-construction/>[accessed on 5 March 2018]

CONCEPTUALISATION 15

ICD/ITKE RESEARCH PAVILION 2012 Architects: University of Stuttgart, Faculty of Architecture and Urban Planning Location: Stuttgart, Germany Year: 2012

Fig 16. ICD/ITKE Research Pavilion 2012

his project is an great example of investivating the possibilities between biomimetic design method and novel processes of robotic production. The key aspect of the project is to transfer the morphology of a biological role model to fibre-reinforced composite materials, the anistropy was integrated into computer-based design from the start and simulation processes, which leads to new tectonic possibilities in architecture. The whole project is closely related to computation. It starts from the form generation methods, computational simulations and robotic manufacturing. Such close relationship with computation allows the development of a high performance structure: this pavilion only requires a four millimetres thick composite laminate shell while spanning eight metres.20

At first, a large number of invertebrates were being investigated so that the observed biological principles can be analysed and abstracted for architectural applications. Such abstracted morphological data with locally adapted fibre orientation forms the base for computational form generation, material design and manufacturing process of pavilion. With the aid of computation, complex data and information of biological principles can be inputted and forms will be generated which is a novel form-finding method. As Oxman suggested,‘Natural design is more than imitating the appearance of the organic. It is learning from natural principles of design how to produce form in response to the conditions of the environmental context.’21 This projects realize his saying with the integration of biomimetic design and architecture.

20. Institute of Computational Design and Construction. ‘ICD/ITKE Research Pavilion 2012’, Institute of Computational Design and Construction <http://icd.uni-stuttgart.de/?p=8807>[10 March 2018] 21. Oxman, Rivka and Robert Oxman, eds. ‘Theories of the Digital in Architecture’ (New York: Routeledge, 2014), pp.8 Fig 16. ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018]

CONCEPTUALISATION

The biological principles are applied to the design of a robotically fabricated shell based on a fibre composition sytem which the resinsaturated glass and carbon fibres were laid by robot, resulting in a compounded structure with custom fibre orientation.22 The fibre arrangement, overall shell geometry and the fabrication process is done concurrently which creates a innovative combination of form, structure, material and performance. As Oxman mentioned, ‘Innovative technologies have become a driving force in the formulation of theories as well as producing a new wave of tectonic and material creativity.’23 The pavilion has explicitly realized what he said to use unique method and materials to build up the structure as the current level of technology allows such complex structure to be done at the same time.

One of the biggest benefits of the direct coupling of geometry and element simulation into computational models allows the comparing of data to numerous variations. This allows the architects to see the result and may amend it right away. Also, the mechanical properties of fibre is tested by material test were considered as form generation and material optimization. The material optimization and layer arrangement allows the pavillion to be a high effiency strucuture that has the minimal use of material which results in a lightweight structure that weighs less than 320 kg.24 This project has a combination of new style of computational and material design, digital simulation and robotic fabrication that allows exploration of the development of this extremely lightweight and materially efficient structure.

Fig 17. Fabrication process

Fig 18. Layout of fiber orientation

Fig 19. Layout of different fiber orientation 22. Institute of Computational Design and Construction. ‘ICD/ITKE Research Pavilion 2012’, Institute of Computational Design and Construction <http://icd.uni-stuttgart.de/?p=8807>[10 March 2018] 23. Oxman, Rivka and Robert Oxman, eds. ‘Theories of the Digital in Architecture’ (New York: Routeledge, 2014), pp.3 24. Institute of Computational Design and Construction. ‘ICD/ITKE Research Pavilion 2012’, Institute of Computational Design and Construction <http://icd.uni-stuttgart.de/?p=8807>[10 March 2018] Fig 17. ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018] Fig 18. ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018] Fig 19. ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018]

CONCEPTUALISATION 17

A.3 COMPOSITION AND GENERATION

CONCEPTUALISATION

he new trend of designing is generation, it is important for us to keep an embracing attitude and open mind to both adapt this new way of designing and use it as a designing tool critically.

As the previous chapter has explored computational design, the logic behind it is mainly the processing of data and relationships between different items. However, these softwares will limit architect’s design as they are not tailor-made particularlly for their designs, they are just platforms for designers play with and work on. And this is why Brady states that architects are now shifting to a time that they are designing softwares for their projects.25 Among the four methods integrating architectural design and computational tools he has stated, the most developed one is the hybrid software that it is created for design purpose and the computational tools included are customized. There are two common plug-ins for grasshopper is Kangaroo by Daniel Piker and Weavebird by Piacentino. It is good to know more about other plug-ins to create other possibilities for our designs but at the moment I think it is better to learn grasshopper first to consolidate our skills towards parametric modelling, then we can move on to an integrated stage afterwards.

As there are more architectural designs are based on algorithmic softwares, there are more generative designs emerging. These design outcomes will usually get a rather positive feedback since it is designed in a very different logic that people is less familiar with. Nonetheless, the design intention is the utmost crucial element in the design. The former head of Foster and Partners SMG, Hugh Whitehead, has mentioned ‘At present scripts tend to be of the “longun” mentality and are justifiable proud of their firepower, usually developed through many late nights of obsessive concentration. There is a danger that if the celebration of skills is allowed to obsure and divert from the real design objectives, then scripting degenerates to become an isolated craft rather than developing into an integrated art form’.26 Brady has also stated that computation should not be merely a tool to design unusual shapes, but rather it should completely and naturally merge with architectural designs.27 This shows that we should go back to basic to think of the basic principles and relationships between space, human and the environment when designing in order to avoid the abusive use of computational tools.

25. Brady, Peters. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2 (2013), pp. 10 26. Brady, Peters. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2 (2013), pp. 12 27. Brady, Peters. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2 (2013), pp. 13

CONCEPTUALISATION 19

LA SAGRADA FAMILIA Architect: Antoni Gaudi Location: Barcelona, Spain Year: 1882-now

Fig 20. Exterior of Sangrada Familia Fig 20. Wikipedia, ‘Sagrada Familia’ , < https://zh.wikipedia.org/wiki/%E5%9C%A3%E5%AE%B6%E5%A0%82 >[accessed on 12 March 2018]

CONCEPTUALISATION

agrada Familia is a representation of historical artefact and parametric design as it has been built over a century and will be continued through parametric modelling in this modern era. As Gaudi had passed away in 1926, he was not able to participate the construction process until its completion. What he left includes a 1:10 scale model of the main nave measuring five meters in height and width by two meters in depth. These models allows Gaudi to transfer the building clues to the future architects to continue his work. Unfortunately, the model is missed in the Spanish Civil War and only fragments of restoration are left to assist architects to continue his work.28 Under such circumstances, it leads to the adoptation of using parametric tools to solve the problems created by the complex geometries in Gaudi’s model and help to analyse the missing parts.

One of the examples of using parametric tools is the generation of the shape of the triforium’s columnetes. (Fig. 21, 22)29 It is found through scripting which is an iteration process. As Sagrada Familia utilises three-diementional forms mainly ruled surfaces, including parabolids, hyperboloids, helicoids and conoids, this provides information for scripting and allows subsequent shapes to be generated afterwards.30 The advantage of using parametric design tools is that architects can experiment different elements and variables so as regenerate real-time outcomes. This allows the final result to be as close as Gaudi’s intended design. However, the shortcoming of such design process is that architects has to take account of everything at the start since if there are changes in the parametric process, errors will then occur in the script set and the project has to be entirely restarted again.31

Fig 21. Digital representation of triforium

From the above, we can see that parametric modelling can be very efficient depending on how we use it under different circumstances.

Fig 22. Triforium of Sangrada Familia 28. Jones, Rennie. ‘AD Classics: La Sagrada Familia/ Antoni Gaudi’, ArchDaily ,<https://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi>[12 March 2018] 29. Burry, Mark. ‘Parametric Design and the Sagrada Familia’, Architectural Research Quarterly, Vol. 1, 1996), pp.73 30. Burry, Mark. ‘Scripting Cultures: Architectural Design and Programming’, (Chichester: John Wiley & Sons Ltd, 2011), pp. 164-5 31. Burry,M, Davis, D. and Pallett, J. ‘The Flexibility of Logic Programming - Parametrically regenerating the Sagrada Familia’ in C. Herr, N. Gu, S. Roudavski, M. Schnabel (ed.) Proceedings of the 16th International Conference on Computer Aided Architectural Design Research in Asia, Newcastle, Australia, 27-29 April, 2011, pp.30 Fig 21. Mamou, Mani. ‘Marc Burry, the Sagrada Familia and the SG11 Sound Responsive Wall’ , < https://wewanttolearn.wordpress.com/2011/10/17/marc-burry-the-sagrada-famillia-and-the-responsivewall/>[accessed on 12 March 2018] Fig 22. Jones, Rennie, ‘AD Classics: La Sagrada Familia/ Antoni Gaudi’ , < https://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi >[accessed on 12 March 2018]

CONCEPTUALISATION 21

QATAR NATIONAL CONVENTION CENTRE Architect: Arata Isozaki Location: Doha, Qatar Year: 2011

Fig 23. Qatar National Convention Centre

his project is one of the most sophisticated projects that uses an iconic design ‘Sitra Tree’ as its inspiration. The reason of using this design is because QNCC is an education institute that intended to provide top education for students. As an international leader, it would like to use ‘Sidra Tree’ that represents learning, stability and growth as their building icon as well as an structural element for the centre.31

As the client would like the ‘Sitra Tree’ to be grown exactly like a normal tree, it has to be started from the ground floor and gradually rises to support the roof. However, the morphology of the tree is affected by the climate in Qatar, so parameters has to be set and decided in order to find out the way tree grows.32 In traditional designs, architects will usually have a certain design in their mind and further work on it. Yet, this project makes use of parametric modelling to generate the fundamental forms and architects will work with the generated forms afterwards.

31. Qatar National Convention Centre. ‘Architecture’, Qatar National Convention Centre ,<http://www.qncc.qa/about-qncc>[12 March 2018] 32. ArchDaily. ‘Qatar National Convention Centre/ Arata Isozaki’, ArchDaily, < https://www.archdaily.com/425521/qatar-national-convention-centre-arata-isozaki>[12 March 2018] Fig 23. Redazione, ‘Presented in Milan Brand Italy Trade Fair hosted by Qatar’ , < http://www.metalworkingworldmagazine.com/presented-in-milan-brand-italy-trade-fair-hosted-by-qatar/>[accessed on 12 March 2018]

CONCEPTUALISATION

Fig 24. Interior of the structure

The first step is to analyse the growing principle and the characteristics of ‘Sibra Tree’, architects has to transform the biological language to computational language in order to allow the computer to generate the shape. (Fig. 26) At the same time, the tree shape generated may be too complicated that it could not be realised in the actual world as there are factors like structural support, aesthetics, site condition etc. So it is important for them to keep the result simple and clear before putting it into the script. The parametric tools had indeed helps to create the tree shape which is according to the local climate quickly. However, the first optimization was unsuccessful that it could not support the upper levels as it mainly considered the aesthetics of the tree. This requires a second optimization that engineers has to fix the problem and to make the project structurally sound. This reminds me that when I am using these tools to design, it is important not to neglect the fundamental factors. With this reminder, the form of the project that I will be working on will hopefully be unpredifined but at the same time structurally sound.

Fig 25. Construction of the tree

Fig 26. Digital representation of QNCC

Fig 24. Raines, Robert. ‘Final Day’s at the Qatar National Convention Center’ , <https://www.flickr.com/photos/robertraines/6476939119>[accessed on 12 March 2018] Fig 25. Doha News Team, ‘Opinion: 10 things that weren’t in Qatar in 2007’ , < https://dohanews.co/tag/susie-billings/>[accessed on 12 March 2018] Fig 26. ScienceDirect, ‘Frontiers of Architectural Research’ , < https://www.sciencedirect.com/science/article/pii/S2095263514000363>[accessed on 12 March 2018]

CONCEPTUALISATION 23

A.4 ALGORITHMIC EXPLORATION W

hen exploring Rhinoceros and Grasshopper, I was experimenting different outcomes by adding in different components, number slider, expression, and even trying to graft or simplify the input and test out the results. The model at the side is the one that I mainly used pipe and move. I did not expect to have such outcome since I have not predefined the result. This philosophy is something that I learnt from the Qatar National Conventional Centre. By not predefining the final result, I can give myself more freedom to test components and may have an unexpected outcome. I think this attitude is one of the important messages that I got from the part A journal that is not to be afraid of creating crazy things.

CONCEPTUALISATION

The above design is created mainly using move and pipe command to varies the shape. The pipes then creates an internal space that is still visible to the outside. This organic shape has two layers of pipes on the roof area that is not expected when I was working on it. I also like the way how the pipes curve at the edges and returns to the opposite direction. This is one of the designs that I did not predefine the shape but still get a positive outcome.

CONCEPTUALISATION 25

For the two bus stop designs I used mainly populate 2D, voronoi 3D and octree to create these shapes. I found these commands restrain me from further developing as it is restricted to be used on boxes. This is also the disadvantage that paramentric tools may limit designerâ&#x20AC;&#x2122;s creativity which some of the part A readings have mentioned. So I would try to use other components to replace it or thinking of another method to achieve a similar outcome.

Bus stop design 1

As for the tile pattern, I used surface divide, explode tree, graft tree, cull pattern and shift list ot create these geometries. I believe this is a way of computerisation that I used the commands in Grasshopper to aid in designing line work and to create variations based on some basic geometries.

Bus stop design 2

Tile pattern 2

Tile pattern 1

Tile pattern 3

CONCEPTUALISATION

Tile pattern 4 CONCEPTUALISATION 27

A.5 CONCLUSION T

he designing method is kept evolving that it now comes to a stage that parametric design is done through computation which allows architects to design and construct their projects with this new approach. This allows designers to think about the buildingâ&#x20AC;&#x2122;s aesthetics when they are parametrically designing, the ability of combining the two into one model is possible. Parametric design represents the shifting from analogue to digital practice in design, it is innovative in a sense that it gives us a new way of thinking but at the same time it may limit our creativity by this given framework. For the design approach of the tram stop, it is important to think of the relationship between the stop and the environment, especially the species. We can implement ways to integrate architecture and insects together, like how Qatar National Convention Centre did. It is innovaitve by using the insectsâ&#x20AC;&#x2122;/ the siteâ&#x20AC;&#x2122;s data to apply into an architectural design in order to make a structure that suits species to stay in. As the client is a kind of insect in this project, so we should be designing for it so as to make them benefit the most.

CONCEPTUALISATION

A.6 LEARNING OUTCOME I

n the past few weeks I have learnt interesting theories about architect and the way in which design outcomes may be achieve. Through the engagement of writing this journal, lectures, readings and my own research, I have gained understanding that architecture is always under evolution. Also, I think that parametric designs require logical thinking step-by-step in order to create an desire outcome. This design method has help us to generate our designs in a quicker way but at the same time a more complex way. If I was equipped with these new knowledge when doing the second skin project, the final product would be very different due to the application of Grasshopper as more possibilities would have been made possible to explore. Furthermore, the pace of workflow will be much faster as testing out results has become an easy job. Instead of prototyping things we have designed each time, we can simply view them on-screen. As parametric design will be more and more common, I think it is very valuable and siginificant to learn it.

CONCEPTUALISATION 29

A.7 RESEARCH Royal Park

Fig 27. Aerial view of Royal Park

Fig 27. Royal Park Protection Group, ‘Map Aerial’ , <http://royalparkprotect.com.au/gallery/map-aerial-3/>[accessed on 15 March 2018]

CONCEPTUALISATION

Fig 28. Inside Royal Park

Fig 29. View in Royal Park looking towards the city

The main reason of choosing Royal Park is because it is the largest park in Melbourne and has the highest species richness which has 202 different insect species.32 It locates in close proximity to the city which provides a higher accessibility for citizens to get close to the nature. Reasons relate to the chosen insect - ladybird: 1. Help to control pest in a larger area As the Royal Park has the highest biodiversity, it is important to control the pests in order to protect the insects and the environment. As beetles are captable to reduce the populations of pestilent flies, which are serious pests in Australia. This can reduce the use of pesticides and benefits the environement. By building habitat for them, it can help to maintain the number of beetles which is used as an potential indicator of the biodiversity. The number of beetles is an indicator of whether that area is biologically sustainable, it helps to remind people to start taking actions when the number drops. 2. Helps to maintain the number of beetles It is found that beetles are able to exploit a wide diversity of food source available in their varies kinds of habitat. Some beetles are omnivores which eat both plants and animals. While carnivorous beetle will catch and consume many other arthropods and small prey such as earthworms and snails. The high biodiversity in Royal Park allow beetle to be fed and reprodice, this will also benefit the ecology cycle to move on without breaking the food chain.

32. City of Melbourne. ‘Urban Biodiverity’, City of Melbourne, <http://biodiversity.melbourne.vic.gov.au/insects/index.html>[15 March 2018] Fig 28. Green, ‘Melbourne’s Nature Play at Royal Park announced as Australis’s best playground’ , <https://greenmagazine.com.au/melbournes-nature-play-at-royal-park-announced-as-australias-bestplayground/>[accessed on 15 March 2018] Fig 29. Wanthers, Deino, ‘Royal Park Melbourne’ , <https://commons.wikimedia.org/wiki/File:Royal_Park_Melbourne.jpg>[accessed on 15 March 2018]

CONCEPTUALISATION 31

A.7 RESEARCH Ladybird

Fig 30. Egg

Fig 31. Larvae

Fig 32. Pupa

Fig 33. Adult ladybird

Introduction: Ladybird is usually round to elliptical and even domed-shaped. The markings on their body depends on which species they are, it can spots, stripes or no marking at all. They are welcomed by farmers because they eat aphids and plant-eating pest. In fact, a ladybird can eat more than 5000 aphids in its year-long life which benefits to our environment since we can reduce the use of pesticides. On the other hand, it helps to sustain ladybirds’ life by feeding them.33 Growth process: Ladybirds usually lay their eggs in clusters or rows on the underside of a leaf which gathers a lot of aphids to provide food for them. Egg will then turn to larvae in a few days. Larvae will then grow quickly and shed their skin for several times. After they are grown into full size, their tails will then attached to a leaf and a pupa is formed. Pupa will turn into ladybird in a few weeks time.34 Habitats: Grasslands, Forests, cities, suburbs and along river Predator: Aphids, scale insects and natural predators of a range of serious pests Prey: Birds, frogs, wasps, spiders and dragonflies Interesting facts: The bright colour of the ladybird is a defensive mechanism that warns animals not to eat them. At the time when they were threatened, they will secrete an oily and yellow fluid from their joints of their legs. Pretending dead is their another way of avoiding danger.35 Benefits of ladybird to the environment: 1. Controlling pests As beetles have been successfully found to reduce the population of pestilent flies which are serious pests of cattle in Australia. It helps in a way that it makes pests unable to breed quickly by rolling and burying it in the soil, with the adding effect of improving soil fertility and nutrient cycling. Dung beetle were introduced to Australia in the Australian Dung Beetle Project (19651985) to redice the populations of pestilent flies that shows an great effect on controlling pests.36 2. Biodiversity indicator Due to their habitat specificity, a wide range of beetles has been suggested to as suitable biodiversity indicator. As their presence, absence and the number of it will indicate the habitat quality. Predatory beetles like tiger bettles have found to be used as an indicator toxon for measuring regional pattern of biodiversity. The reasons that they are suitable is because their taxonomy is stable, their life history is well described and they are larger and simple which make them easy to observe during investigation. The existance will accurately indicates other species, both vertebrate and invertebrate.37 33. National Geographic Kids. ‘Ladybird Facts’, National Geographic Kids, <https://www.natgeokids.com/au/discover/animals/insects/ladybird-facts/#!/register>[15 March 2018] 34. National Geographic Kids. ‘Ladybird Facts’, National Geographic Kids, <https://www.natgeokids.com/au/discover/animals/insects/ladybird-facts/#!/register>[15 March 2018] 35. CSIRO, ABRS. ‘About Ladybird’, CSIRO, ABRS, <http://www.ento.csiro.au/biology/ladybirds/aboutLadybirds4.htm>[15 March 2018] 36. CSIRO, ABRS. ‘About Ladybird’, CSIRO, ABRS, <http://www.ento.csiro.au/biology/ladybirds/aboutLadybirds4.htm>[15 March 2018] 37. CSIRO, ABRS. ‘About Ladybird’, CSIRO, ABRS, <http://www.ento.csiro.au/biology/ladybirds/aboutLadybirds4.htm>[15 March 2018] Fig 30. Valentine, Brian, ‘Ladybird eggs’ , <https://www.flickr.com/photos/lordv/5709005201>[accessed on 15 March 2018] Fig 31. Wikipedia, ‘Coccinellidae - Physical Appearance’ , <https://en.wikipedia.org/wiki/Coccinellidae>[accessed on 15 March 2018] Fig 32. Wikipedia, ‘Coccinellidae - Physical Appearance’ , <https://en.wikipedia.org/wiki/Coccinellidae>[accessed on 15 March 2018] Fig 33. Wikipedia, ‘Coccinellidae - Physical Appearance’ , <https://en.wikipedia.org/wiki/Coccinellidae>[accessed on 15 March 2018]

CONCEPTUALISATION

Mimicking ladybird taking flight

Fig 34. Ladybird taking flight

The designs on the right is an ladybird opening up its elytra and releasing its wings. First of all, I have used loft to create the elytra. By creating arcs and divide them into different lengths within the surface, I can start to lay out where the dots will appear. And by connecting the divide length to item list, I can make points to show randomly. The utmost important thing in the connections is joing the item in the item list, the radius of the sphere and the angle of rotate 3D together by a number slider. Once they are connected, this allows me to have an elytra opening up (as the degree of rotate 3D becomes larger) with dots appearing randomly (as the item in the list item varies) and gets bigger (as the radius of the sphere becomes larger). The concept comes from the Eden Project that it tries to merge the architecture with the environment. While I was mimicking ladybird’s movement using parametric tools so as to make the structure more vivid and lively.

Fig 34. Wikipedia, ‘Lady bettle taking flight’ , <https://en.wikipedia.org/wiki/Coccinellidae#/media/File:Lady_beetle_taking_flight.jpg>[accessed on 15 March 2018]

CONCEPTUALISATION 33

REFERENCE

Reading and Case Study ArchDaily. ‘Qatar National Convention Centre/ Arata Isozaki’, ArchDaily, < https://www.archdaily.com/425521/qatar-national-convention-centre-arata-isozaki>[12 March 2018] Brady, Peters. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2 (2013), pp. 10 Brady, Peters. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2 (2013), pp. 12 Brady, Peters. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2 (2013), pp. 13 Burry, Mark. ‘Scripting Cultures: Architectural Design and Programming’ (West Sussex: Wiley, 2011), pp.8 Burry, Mark. ‘Parametric Design and the Sagrada Familia’, Architectural Research Quarterly, Vol. 1, 1996), pp.73 Burry, Mark. ‘Scripting Cultures: Architectural Design and Programming’, (Chichester: John Wiley & Sons Ltd, 2011), pp. 164-5 Burry,M, Davis, D. and Pallett, J. ‘The Flexibility of Logic Programming - Parametrically regenerating the Sagrada Familia’ in C. Herr, N. Gu, S. Roudavski, M. Schnabel (ed.) Pro ceedings of the 16th International Conference on Computer Aided Architectural Design Research in Asia, Newcastle, Australia, 27-29 April, 2011, pp.30 City of Melbourne. ‘Urban Biodiverity’, City of Melbourne, <http://biodiversity.melbourne.vic.gov.au/insects/index.html>[15 March 2018] CSIRO, ABRS. ‘About Ladybird’, CSIRO, ABRS, <http://www.ento.csiro.au/biology/ladybirds/aboutLadybirds4.htm>[15 March 2018] Dunne, Anthony & Raby, Fiona. ‘Speculative Everything: Design Fiction, and Social Dreaming’ (Cambridge: MIT Press, 2013), pp.2 Dunne, Anthony & Raby, Fiona. ‘Speculative Everything: Design Fiction, and Social Dreaming’ (Cambridge: MIT Press, 2013), pp.6 Eden Project. ‘Sustainable Construction in Eden’, Eden Project, <http://www.edenproject.com/eden-story/behind-the-scenes/sustainable-construction-at-eden>[1 March 2018] FMGB Guggenheim Bilbao Museoa. ‘The Construction’, FMGB Guggenheim Bilbao Museoa <http://www.edenproject.com/eden-story/behind-the-scenes/sustainable-construc tion-at-eden>[5 March 2018] Fry, Tony. ‘Design Futuring: Sustainability, Ethics and New Practice’ (Oxford: Berg, 2008), pp.6 Fry, Tony. ‘Design Futuring: Sustainability, Ethics and New Practice’ (Oxford: Berg, 2008), pp.12 Institute of Computational Design and Construction. ‘ICD/ITKE Research Pavilion 2012’, Institute of Computational Design and Construction <http://icd.uni-stuttgart. de/?p=8807>[10 March 2018] Jones, Rennie. ‘AD Classics: La Sagrada Familia/ Antoni Gaudi’, ArchDaily ,<https://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi>[12 March 2018] Kalay, Yehuda E. ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press, 2004), pp.7 Kalay, Yehuda E. ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press, 2004), pp.11 Lynn, Greg. ‘Folding in Architecture’ (West Sussex: Wiley-Academy, 1993), pp.10 National Geographic Kids. ‘Ladybird Facts’, National Geographic Kids, <https://www.natgeokids.com/au/discover/animals/insects/ladybird-facts/#!/register>[15 March 2018] Oxman, Rivka and Robert Oxman, eds. ‘Theories of the Digital in Architecture’ (New York: Routeledge, 2014), pp.2 Oxman, Rivka and Robert Oxman, eds. ‘Theories of the Digital in Architecture’ (New York: Routeledge, 2014), pp.3 Oxman, Rivka and Robert Oxman, eds. ‘Theories of the Digital in Architecture’ (New York: Routeledge, 2014), pp.5 Oxman, Rivka and Robert Oxman, eds. ‘Theories of the Digital in Architecture’ (New York: Routeledge, 2014), pp.8 Pagnotta, Brian. ‘AD Classics: The Guggenheim Museum Bilbao/ Gehry Partners’, ArchiDaily < https://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbaofrank-gehry> [5 March 2018] Qatar National Convention Centre. ‘Architecture’, Qatar National Convention Centre ,<http://www.qncc.qa/about-qncc>[12 March 2018] Schumacher, Patrik. ‘The Autopoiesis of Architecture: A New Framework for Architecture’ (Chichester: Wiley, 2011), pp.1 Terzidis, Kostas. ‘Algorithmic Architecture’ (Oxford: Architectural, 2006), pp.17 Vidler, Anthony. ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’ (Harvard: Harvard Desgin Magazine no.11, 2000), pp.3 Williams, Richard. ‘Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts’ (Edinburgh: Edinburgh University Press, 2005), pp.115

CONCEPTUALISATION

Images Archdaily, ‘AD Classics: The Plug-In City/ Peter Cook, Archigram’, <https://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram>[accessed 28 February 2018] Doha News Team, ‘Opinion: 10 things that weren’t in Qatar in 2007’ , < https://dohanews.co/tag/susie-billings/>[accessed on 12 March 2018] Eden Project, ‘Eden Project’ , <http://www.edenproject.com/visit/buy-tickets>[accessed on 1 March 2018] Eden Project, ‘Timeline’ , <http://www.edenproject.com/eden-story/eden-timeline>[accessed on 1 March 2018] Eden Project, ‘Visit Eden Project - Two Adults, Two Children’, <https://www.virginexperiencedays.co.uk/visit-the-eden-project-two-adults-two-children>[accessed on 1 March 2018] FMGB Guggenheim Bilbao Museoa. ‘The Construction’ , <https://www.guggenheim-bilbao.eus/en/the-building/the-construction/>[accessed on 5 March 2018] FMGB Guggenheim Bilbao Museoa. ‘The Construction’ , <https://www.guggenheim-bilbao.eus/en/the-building/the-construction/>[accessed on 5 March 2018] FMGB Guggenheim Bilbao Museoa. ‘The Construction’ , <https://www.guggenheim-bilbao.eus/en/the-building/the-construction/>[accessed on 5 March 2018] Green, ‘Melbourne’s Nature Play at Royal Park announced as Australis’s best playground’ , <https://greenmagazine.com.au/melbournes-nature-play-at-royal-park-announcedas-australias-best-playground/>[accessed on 15 March 2018] ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018] ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018] ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018] ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018] Jon Astbury, ‘14 Pivotal Architecural Drawings’ , <https://www.architectural-review.com/today/14-pivotal-architecture-drawings/8657619.article>[accessed 28 February 2018] Jones, Rennie, ‘AD Classics: La Sagrada Familia/ Antoni Gaudi’ , < https://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi >[accessed on 12 March 2018] Kalay, Yehuda E. ‘The major components of the architectural design process’ in ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cam bridge, MA: MIT Press, 2004), pp.10 Kalay, Yehuda E. ‘Breadth or depth’ in ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’ (Cambridge, MA: MIT Press, 2004), pp.19 Lai, ‘Front view of second skin’,2017 Lai, ‘Side view of second skin’, 2017 Mamou, Mani. ‘Marc Burry, the Sagrada Familia and the SG11 Sound Responsive Wall’ , < https://wewanttolearn.wordpress.com/2011/10/17/marc-burry-the-sagrada-famillia-andthe-responsive-wall/>[accessed on 12 March 2018] MoMA, ‘Archigram’, <https://www.moma.org/collection/works/797>[accessed 28 February 2018] Raines, Robert. ‘Final Day’s at the Qatar National Convention Center’ , <https://www.flickr.com/photos/robertraines/6476939119>[accessed on 12 March 2018] Redazione, ‘Presented in Milan Brand Italy Trade Fair hosted by Qatar’ , < http://www.metalworkingworldmagazine.com/presented-in-milan-brand-italy-trade-fair-hosted-byqatar/>[accessed on 12 March 2018] Ren, ‘Digital model of second skin’, 2017 Royal Park Protection Group, ‘Map Aerial’ , <http://royalparkprotect.com.au/gallery/map-aerial-3/>[accessed on 15 March 2018] ScienceDirect, ‘Frontiers of Architectural Research’ , < https://www.sciencedirect.com/science/article/pii/S2095263514000363>[accessed on 12 March 2018] Wanthers, Deino, ‘Royal Park Melbourne’ , <https://commons.wikimedia.org/wiki/File:Royal_Park_Melbourne.jpg>[accessed on 15 March 2018] Valentine, Brian, ‘Ladybird eggs’ , <https://www.flickr.com/photos/lordv/5709005201>[accessed on 15 March 2018] Wikimedia Commons, ‘Guggenheim Museum’ , <https://commons.wikimedia.org/wiki/File:Guggenheim_Museum,_Bilbao,_July_2010_(06).JPG>[accessed on 5 March 2018] Wikipedia, ‘Lady bettle taking flight’ , <https://en.wikipedia.org/wiki/Coccinellidae#/media/File:Lady_beetle_taking_flight.jpg>[accessed on 15 March 2018] Wikipedia, ‘Coccinellidae - Physical Appearance’ , <https://en.wikipedia.org/wiki/Coccinellidae>[accessed on 15 March 2018] Wikipedia, ‘Sagrada Familia’ , < https://zh.wikipedia.org/wiki/%E5%9C%A3%E5%AE%B6%E5%A0%82 >[accessed on 12 March 2018]

CONCEPTUALISATION 35

PART B CRITERIA DESIGN

CONCEPTUALISATION

CONTENTS 38-41

B.1 RESEARCH FIELD

42-43

B.2 CASE STUDY 1.0

44-49

ITERATIONS

50-51

B.3 CASE STUDY 2.0

52-55

DESIGN INTENT TO REALISATION

REVERSE ENGINEERING

56-63

1. POPULATE GEOMETRY

64-65

2. KANGAROO ADD-ON

66-67

3. SPHERE SUBTRACTION

68-69

FINAL OUTCOME

70-81

B.4 TECHNIQUE: DEVELOPMENT

82-89

B.5 TECHNIQUE: PROTOTYPES

90-95

B.6 TECHNIQUE: PROPOSAL

96-97

B.7 LEARNING OUTCOME

98-103

B.8 ALGORTHMIC SKETCHES

104-105

REFERENCE

CONCEPTUALISATION 37

B.1 RESEARCH FIELD Patterning and Biomimicry P

atterning is a language that combines geometry and social behaviour to layout a set of rules. It helps to define interaction between human being and environment. It optimizes how building promote human life and wellbeings and reflects different modes of life. Living architecture is highy dependent on patterns that it defines the form and the space significantly. It is a set of relationship that can be realized in different materials and geometries.38

‘Patterns are not material, though we experience them with our senses.’

Christopher Alexander39

Alexander’s meaning is that pattern is sometimes difficult to be understood intellectually and is even impossible to grasp this concept as the world is now focusing merely on materials. At the same time, he argued that the modern mass-production way of buildings are too standardised that they are wrongheaded.40 Later, the term ‘design pattern’ emerges that it addresses issues of software architecture, design and programming application. From the book Pattern-Oriented Software Architecture: A System of Patterns, the authors stated two types of pattern:41 1. Architecture Pattern - a fundamental structural organization of software that provides a set of predefined systems, specifing characteristics, including rules and relationship between each other 2. Design Pattern - provides a theme for redefining components and systems in the software and describes a commonly recurring structure of communicating components which solves a design problem within a particular context There are different ideas towards patterning that Alexander proposed that it is something that is more than just what we see. It is something that we feel and experience. At the same time, the definition of pattern is evolving and being determined by computer software by setting out different parameters so as to reach a desire design. Nevertheless, we should never forget patterns are not merely categorized into the above categories because they can also be found in nature. The nature’s unifying pattern is considered as a part of design process as patterns can be broadly found across the majority of life on Earth. The intent of applying patterning to biomimic design is to create more sustainable solutions.42 Biologically inspired designs can always generate breakthrough ideas but we should consider the nature in a system content so that the design will fit into the life on earth well.43 In my opinion, this is a key step of practicing biomimicry. Once we understand the patterns, we will then should understand the physics behind nature. It is important to know that biomimicry is not only about the aesthetics but is about the engineering behind. With this understanding, we can then apply them in the design process and ponder them throughout the design phases. This shows the close relationship between patterning and biomimicry.

38. Salingaros, Nikos. ‘A Theory of Architecture Part 1: Pattern Language vs. Form Language’, ArchiDaily, <https://www.archdaily.com/488929/a-theory-of-architecture-part-1-pattern-language-vs-form-language>[22 March 2018] 39. Salingaros, Nikos. ‘A Theory of Architecture Part 1: Pattern Language vs. Form Language’, ArchiDaily, <https://www.archdaily.com/488929/a-theory-of-architecture-part-1-pattern-language-vs-form-language>[22 March 2018] 40. Rybczynski, Witold. ‘Do You See a Pattern’, SlateGroup, <http://www.slate.com/news-and-politics/2018/03/congress-scrambles-to-stuff-the-biggest-bill-of-the-year.html>[22 March 2018] 41. TOGAF. ‘Architecture Patterns’, The Open Group, <http://pubs.opengroup.org/architecture/togaf8-doc/arch/chap28.html>[22 March 2018] 42. Biomimicry Institute. ‘Nature’s Unifying Patterns’, Biomimicry Institute, <https://toolbox.biomimicry.org/core-concepts/natures-unifying-patterns/> [12 April 2018] 43. Biomimicry Institute. ‘Nature’s Unifying Patterns’, Biomimicry Institute, <https://toolbox.biomimicry.org/core-concepts/natures-unifying-patterns/> [12 April 2018]

DESIGN CRITERIA

As aforementioned, the meaning of pattern has been evolving since a long time ago. Traditionally, patterning is a symbolism and cultural representation that it has some religious and historical implication. Take churches and mosques as an example, we will always find repeating motifs and geometries throughout the architecture to create a sacred atmosphere. Patterning sometimes are used as ornaments to adore the nature and technology in Roman columns. Though Alexander clarifies the difference between patterning and materiality, they have a very close relationship as we can find patterns in materials. Ornaments and pattern can be found in material and at the same time material expression is revealed in an ornament.44 Take Mies’s Barcelona Pavilion as an example, the material use gives an architectural essence to the pavilion through ethereal and experiential qualities.45 With the use of four types of material, including marble, steel, chrome and glass, the pavilion has successfully combines the man-made and natural materials.46 In addition, patterning is also found in biomimicry. Geometry can be found on the smallest of scales which is proven by the amazing work of the butterfly egg enclosure by Kharrat. Also, the yearly well-known ICE-ITKE Research Pavilion programme has used biomimicry as their foundation of computational design. The utmost important thing I have learnt from that project is that biomimicry is not just a way to generate patterns, but it is also a reference point to develop structures and transform material’s characteristics. Thus, the infiniteness of design possibilities between biomimicry and patterning initiate my interest to explore the following projects.

Fig 35. Materiality as pattering in Barcelona Pavilion

Fig 36. ICE/ITKE Research Pavilion 2012

44. Moussavi, Farshid and Daniel Lopez. ‘The Fuction of Form’ (Barcelona: Actar, 2009), pp.8 45. ArchDaily. ‘AD Classics: Barcelona Pavilion/ Mies van der Rohe’, ArchDaily, <https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe>[2 April 2018] 46. ArchDaily. ‘AD Classics: Barcelona Pavilion/ Mies van der Rohe’, ArchDaily, <https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe>[2 April 2018] Fig 35. ArchDaily. ‘AD Classics: Barcelona Pavilion/ Mies van der Rohe’, ArchDaily, <https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe>[2 April 2018] Fig 36. ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018]

DESIGN CRITERIA

PRECEDENTS Patterning

M.H. de Young Museum Architect: Herzog & de Meuron Location: San Franciso, California, USA Year: 2005

Fig 37. Perforation, Extrusion and Extent of copper decay

ey conceptual design implication:

Materiality creates sensation for visitors As the choice of material are mainly natural materials like copper, wood, stone and glass that allows it to become part of the land it sits on. The four pathways allows visitors to enter the museum in any direciton they want. The wooden lining and finishes creates a warm atmosphere to guide visitors throughout the journey. While the large ribbon windows pulls the scenery from outside to inside which blurs the lines between exterior and interior. Most noticeably, the copper facade will slowly oxidized and turn into green which will gradually merge into its natural surroundings.47

“We wanted a material that would be sensitive to—and actually express—the fact of change,” Jacques Herzog of Herzog & de Meuron48

Engineer and software programmer has worked on creating special perforation and patterned dimples which will have variable sizes and random spots on the exterior. When looking at it in a whole picture, it will form patterns of lights as we see through the trees.49 Architects first take photos of the pattern of lights through trees so as to create the perforated system of holes. Zahner Interpretive Relational Algorithmic Process (ZIRA) technology is used to streamline this series of holes in copper which allows engineer to run the chosen imagery in the algorithmic system so as to translate them to thousand of copper plates. As the copper oxidizes, it will turn from its bright golden red, to dark brown, to black and finally earthy green that fits into the colour of the environment.50

47. Zahner Company. ‘de Young Museum’, Zahner Company, < https://www.azahner.com/works/de-young> [26 March 2018] 48. Zahner Company. ‘de Young Museum’, Zahner Company, < https://www.azahner.com/works/de-young> [26 March 2018] 49. Zahner Company. ‘de Young Museum’, Zahner Company, < https://www.azahner.com/works/de-young> [26 March 2018] 50. Zahner Company. ‘de Young Museum’, Zahner Company, < https://www.azahner.com/works/de-young> [26 March 2018] Fig 37. Zahner Company, ‘de Young Museum’ , <https://www.azahner.com/works/de-young>[accessed on 26 March 2018]

DESIGN CRITERIA

Biomimicry GROTTO Architect: Aranda Lasch Location: Queens, New York Year: 2005

Fig 38. Grotto

ey conceptual design implication:

The use of cellular structure influenced methodology

Such methodology is greatly influenced by a cellular structure, fractals and crystals found in the nature. The architect has purposely developed an algorithm which can generate a aperiodic system in order to create any shape which certain tetrahedral tiles that never repeats the same way twice. 51 In such way, a wider range of possibility of arrangements can be generated since four unique boulder were formed through voronoi and can be interlocked endlessly.52 The endless arrangements will form different patterns and characteristics which again emphasize the close relationship between biomimicry and patterning. Such subtraction of voronoi cell creates a spatial experience which is like the special patterns found on the erosion on the rocks and caves. Imitation of living system The endless and unpredictable way of arranging voronoi cells Fig 39. The progress of the aperiodic system represents the living sytem growing into variety of possibilities. The search of endlessness make their work appealing to the public and at the same time marks how patterning interlocks with biomimicry in a primitive way. 51. Benjamin Aranda & Christopher Lasch. ‘Tooling’ (New York: Princeton Architectural Press, 2006), p.83 52. Benjamin Aranda & Christopher Lasch. ‘Tooling’ (New York: Princeton Architectural Press, 2006), p.83 Fig 38. Benjamin Aranda & Christopher Lasch, ‘Work’ , <http://arandalasch.com/works/grotto/>[accessed on 12 April 2018] Fig 39. Benjamin Aranda & Christopher Lasch, ‘Work’ , <http://arandalasch.com/works/grotto/>[accessed on 12 April 2018]

DESIGN CRITERIA

B.2 CASE STUDY 1.0 SPANISH PAVILION Architect: Foreign Office Architects Location: Expo 2005, Aichi, Japan Year: 2005

Fig 40. Facade patterning

Fig 41. Casting shadow on pattern

he pavilion buildings in Expo 2005 started out similar that it is a standardised blank box that FOA has developed a unique facade and internal environment for it. Key conceptual design implications: 1. Hybridization of culture through patterning and materiality This pavilion demonstrates the expression of hybridization of Jewish-Christian cultures and the Islamic influence on the Iberian Peninsula. Architects have make used of the lattice and traceries to show this cultural synthesis. As lattices is a traditional architectural element in Spain, as well as resonating with the Japanese engawa, this represents the fusion of Christian, Islamic and Japanese architecture. Lattices, traceries and rose windows are inspirations from late-Gothic catherals which shows that architects design the patterns based on historical context which is also an appropriate cladding for the pavilion box.53

The lattice are made of ceramic that is being widely used in Spain and Japan. They are all made in Spain and shipped to Japan to indicate an idea of bringing ‘land of Spain’ to Japan which pushes the concept of hybridization further.54 2. Creating a fluid pattern without repetitive The pattern of lattice starts from an aggregation of regular hexagonal shape and then they deformed it into 6 different kinds of block. These 6 blocks create variation in shapes and colours of the facade which consist of colours of the Spanish Flag. The colour of wine, blood, roses, the sun, the sand and all that are associated with Spain.55 Also, as the light cast on the pattern, shadow of the pattern will be projected onto the ground which gives people another kind of sensation. Furthermore, the hexagonal shape has reminds me of the cellular structure of honeycomb in a non-repetitive way. I believe this is one of the characteristics of biomimicry that nothing will be identical as they will grow in their own pace and direction. This resonates with this project’s design methodology that it starts with 6 different block and layout in a fluid manner. 3. Spacial sequence is referenced to chapels of cathedral The pavilion is organised around a large, central space which is like the nave and chapel of cathedral, such design helps to connect seven exhibition areas together. It also has the components of Gothic vaults, Islamic domes and faceted vaults which were reinterpreted as free-form structures56, in which to demonstrate the pavilion’s hybridity. 53. Digiitalarchfab. ‘Spanish Pavilion’, Digiitalarchfab, <http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion>[22 March 2018] 54. Architecture Library. ‘Spanish Pavilion Expo 2005 - Haiki, Aichi, Japan’, Architecture Library, <http://architecture-library.blogspot.com.au/2013/12/spanish-pavilion-expo-2005-haiki-aichi.html>[22 March 2018] 55. Architecture Library. ‘Spanish Pavilion Expo 2005 - Haiki, Aichi, Japan’, Architecture Library, <http://architecture-library.blogspot.com.au/2013/12/spanish-pavilion-expo-2005-haiki-aichi.html>[22 March 2018] 56. Digiitalarchfab. ‘Spanish Pavilion’, Digiitalarchfab, <http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion>[22 March 2018] Fig 40. Farshid Moussavi Architecture, ‘Spanish Pavilion at the 2005 World Expo’ , <https://www.farshidmoussavi.com/node/27>[accessed on 22 March 2018] Fig 41. Farshid Moussavi Architecture, ‘Spanish Pavilion at the 2005 World Expo’ , <https://www.farshidmoussavi.com/node/27>[accessed on 22 March 2018]

DESIGN CRITERIA

BREAKING DOWN OF THE PROJECT

1. At first, the pattern of lattice starts from an aggregation of regular hexagonal shape

2. They are then deformed it into 6 different kinds of block. These 6 blocks create variation in shapes and colours of the facade which consist of colours of the Spanish Flag. The colour of wine, blood, roses, the sun, the sand and all that are associated with Spain

3. A large amount of these blocks are put together in groups of 6 all over the facade

4. Some of the lattices were made hollow to create more variations in the facade

SELECTION CRITERIA AESTHETIC

The richness of patterning will affect a lot on the structure’s aesthetic. Does the composition of pattern look aesthetically pleasing? What impact does it have on visitors? Does it create any sensation for visitors? Such as light effect, illusion, confusion etc.

STRUCTURE

The sturcture of a pattern can be very complicated. Is this design feasible? How are elements connected? How does the iteration manage to be freestanding? How is the structure being supported? Does it require any additional support?

CONSTRUCTABILITY

MATERIALITY

How is the structure being constructed? Is the design constructable? Is it practical in real life? Is this design too far-fetched? Material is crucial to our client as it is a habitation where they live in. The material may affect their living style and habitat. What material can be used? Does that material has any impact on our client? For example, if we use copper which will fade as time passes, will it create any negative impact to our clients’ health and habitat?

COMPUTATION

Does the computation process involve client’s consideration? Is there any other exploration that can go further in the algorithm? Is there a petter way to show the algorithm?

FABRICATION CONCERNS

How can it be fabricated? What technique and machine will be used for fabrication? Can the details be fabricated? What kind of fabrication will reveal the pattern most and suits the habitat of the client?

DESIGN CRITERIA

ITERATIONS SPECIES

VARYING THE INTERNAL POINTS OF THE 6 DIFFERENT BLOCKS

VARYING THE SPACING FOR ARRAY

ITERATIONS

Expression: N*(2*sqrt(S2 - (S/2)2)) Internal Point 1: X = 0.2, Y = -0.2 Internal Point 2: X = 0.4, Y = 0.0 Internal Point 3: X = 0, Y = 0 Internal Point 4: X = 0.2, Y = 0.0

Expression: N*(2*sqrt(S2 - (S/2)3))

Internal Point 1: X = -0.4, Y = -0.2 Internal Point 2: X = 0.3, Y = 0.8 Internal Point 3: X = -0.1, Y = 0.7 Internal Point 4: X = -0.1, Y = -0.1 Expression: N*(2*sqrt(S2 - (S/2)2))

Internal Point 1: X = 0.7, Y = -0.3 Internal Point 2: X = 0.4, Y = -0.6 Internal Point 3: X = 0.3, Y = 0.2 Internal Point 4: X = 0.6, Y = 0.2 Expression: N*(2*sqrt(S2 - (S/2)))

DESIGN CRITERIA

Expression: N*(2/sqrt(S2 - (S/2)3))

VARYING THE OFFSET DISTANCE

VARYING THE IMAGE SAMPLER ONTO THE PATTERN

Offset Distance: 0.05 X Domain: 0 to 1 Y Domain: 3 to 4

Offset Distance: 0.32

Offset Distance: 0.50

Offset Distance: 0.66

DESIGN CRITERIA

ITERATIONS SPECIES

VARYING THE GRAPH MAPPER EXTRUSION AND CULL PATTERN

VARYING THE GRAPH MAPPER OF PIPING AND CULL PATTERN

ITERATIONS

Pattern on plan

Cull Pattern: True False False

Power curve

Bezier curve

Pattern on plan

Cull Pattern: True False False True

Sine curve

Bezier curve

Pattern on plan

Cull Pattern: False True True False

Sine curve

Perline curve

Pattern on plan

Cull Pattern: True False False True 46

DESIGN CRITERIA

Power curve

Square root curve

VARYING THE POSITION OF PIPE BY CULL PATTERN AND ELEMENT OF EXTRUSION

VARYING THE POSITION OF SPHERE BY IMAGE SAMPLER

Triangular extrusion with cull pattern (False, False, True, True)

Triangular extrusion with cull pattern (True, True, False, False)

Triangular extrusion with pipes in a certain vector

Sphere with pipes in a certain vector DESIGN CRITERIA

SUCCESSFUL ITERATIONS

AESTHETIC

STRUCTURE

CONSTRUCTABILITY

MATERIALITY

COMPUTATION

FABRICATION CONCERNS

This iteration is chosen because the richness of the pattern creates an illusion that when they look really close to the pattern, they will only see a hexagon, but when they see it from a distance, they will see there is a pattern. In terms of structure and constructability, as the pattern is not extremely complicated, it will be feasible to construct. Some thin materials can be used to construct this perforated pattern as if thick material is used, it will be too heavy and we have to think of ways to support it. This design allows our clients to pass through the holes easily and may choose to stay inside the holes which may provide them a habitation. However, the internal space have to reconsider as it is now only a 2D form.

DESIGN CRITERIA

This iteration has layers of extrusion which increases the surface area for our clients to stay on and is aesthetically pleasant. It also has a certain depth which allows our clients to stay inside. By using the cull pattern, I am able to control which section to be covered while others to stay open, and I finally adjust to this iteration so that most of the openings stay upwards to welcome our clients. It should be structurable sound and stable as there is support at the bottom that allows it to be freestanding. As for the material, if a semi-transparent material can be used, it will be very interesting as we can observe the number of clients staying and start to take action before the number decreases. One of the concerns is how the extrusions will be connected and which part will be linked together.

AESTHETIC

STRUCTURE

CONSTRUCTABILITY

MATERIALITY

COMPUTATION

FABRICATION CONCERNS

This iteration creates pipes which mimics the shape of the shrub and grass to provide an habitat for our client. This structure is contructable as it is some rather simple curves. These curves together will form a pattern when looking from the top. It gives our client a feeling of getting into a maze as they fly into this set of curves. Harder materials should be used as it has to stand straight or curvy when it is erected and also the bear the weight of our cilents. By using the graph mapper, I am able to vary the shape and the direction of the curves so as to control the overall look of the iteraiton. One of the concerns is that how will the curves being connected at the base and how to make it stable enough when it is erected.

This iteration has triangular extrusions as its base and has wires above it to create different patterns. It creates a light and shadow effect when light is cast on it. The position of wires is determined by the boolean of the cull pattern, by setting different input, it results in a different outcome. The structure should be stable as it has a flat base. The connection between the wires and the base has to be reconsidered that part will be the weakest area when load is added onto the wires, for example, clientâ&#x20AC;&#x2122;s load.

DESIGN CRITERIA

B.3 CASE STUDY 2.0 BUTTERFLY HOUSE Designer: Tia Kharrat Location: Unbuilt Year: 2016

Fig 42. Butterfly house

harrat’s aim of this architecture structure is to raise awareness of the dwindling numbers of White Royal butterflies in the world and conservation of these insects. This project is purposely designed for butterfly as their habitats but it can also be used as a butterfly- themed pavillion.57 The most remarkable part is that it is designed to house butterflies that the enclosure is based on the form of butterfly eggs. When taking a closer look to the structure, we can see that it is inspired from the geometry of the White Royal, an endangered species of Singaporean butterfly. As this is an unbuilt project, the proposed 3D-print structure is formed from concave, domed hexagonal panels that Kharrat Fig 43. Microphotograph of butterfly egg has visualised it as an inverted football.58

Special experience is achieved through the perforations on the panels that allow light to filter into the structure in all angles which creates a suitable habitat for butterflies. Kharrat describes it as “an ethereal space made of translucent materials, filled with dappled light where people can come for contemplation and perhaps experience the inception of their own personal metamorphosis’59 This extends the target users from butterfly to human which also creates the crucial linkage between them in the ecosystem that Kharrat think should be conserved and celebrated. Fig 44. 3D printed structure

57. Mairs, Jessica. ‘Butterfly House’, dezeen, <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formation-eggs-biomimicry/>[13 April 2018] 58. Mairs, Jessica. ‘Butterfly House’, dezeen, <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formation-eggs-biomimicry/>[13 April 2018] 59. Mairs, Jessica. ‘Butterfly House’, dezeen, <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formation-eggs-biomimicry/>[13 April 2018] Fig 42. Mairs, Jessica, ‘Butterfly House’ , <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formation-eggs-biomimicry/>[13 April 2018] Fig 43. Mairs, Jessica, ‘Butterfly House’ , <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formation-eggs-biomimicry/>[13 April 2018] Fig 44. Mairs, Jessica, ‘Butterfly House’ , <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formation-eggs-biomimicry/>[13 April 2018]

DESIGN CRITERIA

Fig 45. Rendering of the butterfly house

Fig 46. Proposed 3D print structure

Kharrat has made prototypes to reinterpret the effect on the butterfly eggs, the pattern and arrangement of the units are arranged according to Lloyd’s Law which is the voronoi. By using the voronoi, the edges of the eggs can be attached together and the perforation can be scaled up or down. Also, the reason of the eggs to be arranged in a such a symmetrical way is because of the physics behind. This shows that even things are found in nature, there are theories, mathematics and laws behind it. This is the main reason that our group choose this project, not merely because of the aesthetics but because our curiosity to explore the theory of the butterfly’s egg structure.

“This kind of intricate fractal geometry is transfixing when it happens in nature; it can be described as a never-ending pattern on different scales.” 60 Tia Kharrat By observing Kharrat’s attempt in using fractal pattern, we can see that patterning is a fundamental element in biomimicry. She has been trying to vary the density of the pattern so as to reach a desired outcome. In her point of view, human are subconsciously familiar with naturally occurring patterns which makes us inherently more relaxed when surrounded by those patterns.

Fig 47. Exploded sketch diagram 60. Tia, Kharrat, ‘The Butterfly Egg’, Wewanttolearn.net, < https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/> [13 April 2018] Fig 45. Mairs, Jessica, ‘Butterfly House’ , <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formation-eggs-biomimicry/>[13 April 2018] Fig 46. Mairs, Jessica, ‘Butterfly House’ , <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formation-eggs-biomimicry/>[13 April 2018] Fig 47. Mairs, Jessica, ‘Butterfly House’ , <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formation-eggs-biomimicry/>[13 April 2018]

DESIGN CRITERIA

DESIGN INTENT TO REALISATION DESIGN INTENT

Inspiration and Design Research

Parametr

- Take inspiration by mimicking the structure of the butterfly’s egg - Designed to house the butterfly enclosure but it extents to other users afterwards - Raise people’s attention towards the dwindling number of White Royal, an endangered species of Singaporean butterfly - Biomimicry as an exciting concept to suggest every field and industry has something to learn from the natural world - Natural Geometry: Icosahedron, “The Bucky Ball” - The most efficient way to fill a hexagon, is with seven small hexagons - Negatively spherically tied - Subdivision patterns, including fractal pattern and Voronoi/ Lloyd’s Algorithm

- 3D model constructe Grasshopper plug-in to framing structures, fracta - Generates different iter - Generates drawings for The proposed 3D-printe concave, domed hexag refered it to an inverted - The hexagonal panels to filter into the structu and directions, this will h habitat for the butterflies - “Research on the spatia the White Royal butterfly of a filigree 3D-printed Kharrat mentioned

Design Research Sphere Subtraction

Fig 48.

Lycaenidae family eggs from left to right: White Royal, Acacia Blue, Aberrant Oakblue, Miletus, Malayan.

Discovering Geometry

Discovering Patterns

Fig 52. Fig 49.

Icosahedron. AKA “The Bucky Ball”. The most efficient way to fill a hexagon, is with seven smaller hexagons.

Fig 50.

Fractal patterns

Fig 51.

Voronoi/ Lloyd’s Algorithm

61. Tia, Kharrat, ‘The Butterfly Egg’, Wewanttolearn.net, < https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/> [13 April 2018] 62. Tia, Kharrat, ‘The Butterfly Egg’, Wewanttolearn.net, < https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/> [13 April 2018] 63. Tia, Kharrat, ‘The Butterfly Egg’, Wewanttolearn.net, < https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/> [13 April 2018]

DESIGN CRITERIA

The space between two from a large sphere, minus spheres

REALISATION

Prototype

ric model

ed on Rhinoceros with o explore different form als and patterns. rations. r fabrication (3D Printing).ed structure formed from gonal panels that Kharrat football are formed to allow light ure from different angles help to create a suitable s al system and qualities of egg underpins the design sculptural installation,”62

- “This kind of intricate fractal geometry is transfixing when it happens in nature; it can be described as a never-ending pattern on different scales.”63 - Explores the potential of 3D printing and scanning as it becomes readily available and cheaper - Utilised 3D Powder Printing to generate small works model and explore the possibility of adopting the same technology for large and complex structure at full scale

Fig 53.

3D printing in sections

Fig 54.

3D printed form

o solids: The resultant solid s a merged series of smaller

Fig 48. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 49. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 50. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 51. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 52. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 53. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 54. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 55. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018]

Fig 55.

3D printed in sections

DESIGN CRITERIA

PARAMETRIC MODEL - VORONOI/ LLOYDâ&#x20AC;&#x2122;S ALGORITHM

Fig 56. 54

DESIGN CRITERIA

Fig 57.

Offset in Iterations: The offset size based on area of polygons

Fig 58.

Voronoid Mesh: Density drawn towards the edges

PARAMETRIC MODEL - FRACTAL PATTERN

Fig 59.

Extruded Pattern: Iteration pattern puncturing through form

Fig 60.

Exploration of fractal patterns

Fig 62.

Fractal logic: Increasing density towards the edges

Fig 61.

Different iteration of fractal patterns Fig 56. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 57. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 58. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 59. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 60. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 61. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Fig 62. Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018]

DESIGN CRITERIA

REVERSE ENGINEERING Method 1 - Populate Geometry Description: The project is designed to have voronoi patterns on each unit. Hence, the first step was to locate these patterns into the unit, so this was explored by finding the intersections between the unit and any arbitrary geometries, in this case cylinders.

UNIT GENERATION

The project tries to optimized these patterns by applying the Lloyd's Algorith which can be used to concetrate the points around edges, in order to have smaller polygons near the edges. In Grasshopper, this can be generated by using an attractor point in the middle of the surface.

1. Sphere cut in half

2. Substraction of 6 smalle spheres around the edg

CREATION OF PATTERNS ON THE UNIT

DESIGN CRITERIA

5a. Orientation of cylinders around a surface

6a. Intersecting a surface with cylinders

5b. Voronoi projection on a surface

6b. Offsetting each voronoi cell

er ge

3. Deconstruct brep to extract only the lower

4. Final Unit Geometry

This creates dots on the surface but not hexagon. This is not a desired outcome, so we moved to voronoi below.

7a. Split command to cut the surface with the intersections

8a. Applying an attractor point in the middle

This creates voronoi pattern which is our desire outcome.

7b. Extraction of edge curves

8b. Split command to cut the surface with the curves DESIGN CRITERIA

FINAL UNIT OUTCOME

Elevation

REORIENTATION OF UNITS INTO A SPHERE Irregular population of units

9a. Irregular population of a sphere with units

10a. Rotation of each unit

Regular population of units

9b. Regular population of a sphere with units

DESIGN CRITERIA

10b. Exploring the unit count

Bottom view

11a. Uniform rotation of based on the y axis

12a. Rotation of units based on a vector from the centre of the sphere

11b. Perfect unit match on the sides of the sphere

12b. Problem matching the units at the top and bottom ends of the sphere

DESIGN CRITERIA

FINAL REORIENTATION OF UNITS INTO AN SPHERICAL SURFACE

13. Metaball generation

DESIGN CRITERIA

14. Applying the pre of orientation int

evious principles to a sphere

Final outcome

15. Adjusting the count and size of the units

DESIGN CRITERIA

FINAL OUTCOME

Voronoi Perforations on a single unit

DESIGN CRITERIA

FINAL OUTCOME

Using Weaverbird to populate points equally on all sides of the sphere

DESIGN CRITERIA

REVERSE ENGINEERING Method 2 - Kangaroo Add-on Description: The Kangaroo Process has generated an outcome that resembles the desired shape. The algorithm uses the classical Newtonian principles to create forces. The objects which are generating these forces are mostly done with springs. According to the Hookeâ&#x20AC;&#x2122;s law for spring forces the force is proportional to the extension the objects, which in these case, are trying to reach a certain length a frequent technique useful for modelling tensile structures. In theses scenario, each one of the edges on the mesh tries to reach a certain length depending on the force applied at the centre of the configuration.

Theory explanation

Hookeâ&#x20AC;&#x2122;s Law for spring forces

DESIGN CRITERIA

Sequence of generative process

1. Using an Icosahedron as a the base geometry

3. Meshing the geometry with Weaverbird

2. Generating a truncated icosahedron or "Bucky Ball"

4. Using Kangaroo to create an attracting force between the mid points of each face and the centroid of the geometry

5. Final outcome of the Kangaroo add-on DESIGN CRITERIA

REVERSE ENGINEERING Method 3 - Sphere Subtraction Description: The last iteration we have tried is the sphere subtraction. By using the Weaverbird Mesh Mesh, Wb spilt triangle subdivision, we are able to layout the points on the sphere equally that solves the problem that we were facing when using populate geometry. After the points are located on the sphere equally, we will then create spheres on those points that allows solid difference to occur. In this way, we can create a desire shape with all the hexagon edges

Theory explanation

1. Equally distributed points are laid on the sphere using the Weaverbird component

DESIGN CRITERIA

2. By subtracting the small spheres on the large central sphere, domes with edges attaching together will be formed

Sequence of generative process The following is the exploration of which size of the sphere will be the most desirable size for our reverse engineering outcome.

1. Count: 30 Size : 5

3. Count: 25 Size : 50

2. Count: 100 Size : 1.5

4. Count: 30 Size : 20

5. We found this to be the most desirable outcome among the three methods since the hexagon edges are fully attached to each other that have totally replicates our reverse engineering project. DESIGN CRITERIA

FINAL OUTCOME CONCLUSION O

ur reverse engineering outcome is reasonably successful. We have reversed engineer in three different methods, including populating geometry, kangaroo add-on and sphere subtraction.

way could be restraining the algorithm from acting on the edges but only on the center of the geometry, affecting the computing processing time.

For populating geometry, we first made a base unit by subtracting sphere from a semi-sphere and then we populate the units over the sphere using populate geometry using just the Grasshopper components. The similarity of this method is that it has a base unit that is really similar to the project. However, the differences are that the arms of the units are not touching each other, instead they are overlapping at some parts. Also, an uniform arrangement of the units can only be done when we are using divide surface to set a uniform layout of the points prior to the location of the units. Yet, this will bring another problem that is the points will get denser when it gets to the top of sphere. Besides, the density of the perforations does not get smaller when it moves towards the edges. The rendering shown in here is our 1st reverse engineering.

Finally, we attempted the third method - sphere subtraction using Weaverbird. By using the Weaverbird plug-in, we are able to resolve one of the limitations that is to make the arms attaching to each other. Furthermore, it helps us to solve another problem when we are using populate geometry in the first method. By using Weaverbird, points are then distributed uniformly on the sphere that allows us to locate the units in a desire way. Unfortunately, we are not able to make the perforations smaller as it moves to the edges. And also because of the original project is only a render, we are not able to replicate it to be exactly the same, instead, we can only imagine how it looks to generate our final outcome.

Then we moved on to the second method - kangaroo addon. There is a strong limitation by using this process. The form is constraint by the meshing algorithm used before the process and secondly the forces also act on the borderlines of each one of the faces of the base geometry, which is not suitable for the desire shape. An alternative

DESIGN CRITERIA

As we move to the iterations, we plan to move a bit further away from our current definition step by step. We will play with three kinds of reverse engineering and at the same time we will move on to the using different plug-ins to move as far as we can. In this way, this can provide as much flexibility to our exploration in technique development.

DESIGN CRITERIA

B.4 TECHNIQUE: DEVELOPMENT

he purpose of technique development is to extend the definition that we have generated from reverse engineering to our technique that will eventually inform our design. As our group has generated three ways of reverse engineering methods, a greater variety of iterations can be created, as different sequence will influence different development of species. Iterations will be divided into three different categories: populate geometry, kangaroo add-on and sphere subtraction. These three ways of reverse engineering will also add difficulty and complexity into the design, so other than just making the iterations complicated, we would like to focus on the generation of ideas and exploring the potential that could fit in to our proposal for creating an insect habitat. As abovementioned, our iterations will get more complex as we move away from the definitions. The complexity will have

DESIGN CRITERIA

a great impact on the fabrication of prototypes that we have to be aware when generating our iterations. Nevertheless, we are still in a stage of exploration, instead of setting a particular category we will focus on, we would also like to try out plug-ins to test different effects as we do not have a fix proposal yet. Through the exploration of definitions, we aim to find our way for the design of proposal. Thus, the selection criteria become crucial when we are choosing our successful iterations. The following criteria is generated in order to remind ourselves not to go too far that we could not apply them to our proposal. Link to insects is one of the most important criteria because we have to create a habitat for butterflies. We have done a bit of research on their habitat in order to inform our design and also be prepared to move on to prototype when we have decided what design we are going after.

Selection Criteria Aesthetic

The richness of butterfly egg pattern will affect a lot on the structureâ&#x20AC;&#x2122;s aesthetic. Does the composition of pattern look aesthetically pleasing? What impact does it have on our client and visitors? Does it create any sensation for them? Such as movement, light effect etc.

Structure

The structure of a pattern can be very complicated. Is this design feasible? How are elements connected? How does the iteration manage to be freestanding? How is the structure being supported? Does it require any additional support?

Constructibility

How is the structure being constructed? Is the design constructable? Is it practical in real life? Is this design too far-fetched?

Materiality

Material is crucial to our client as it is a habitation where they live in. The material may affect their living style and habitat. What material can be used? Does that material has any impact on our client? For example, if we use copper which will fade as time passes, will it create any negative impact to our clientsâ&#x20AC;&#x2122; health and habitat?

Computation

Does the computation process involve clientâ&#x20AC;&#x2122;s consideration? Is there any other exploration that can go further in the algorithm? Is there a better way to show the algorithm?

Fabrication

How can it be fabricated? What technique and machine will be used for fabrication? Can the details be fabricated? What kind of fabrication will support the structure and reveal the pattern most which suits the habitat of the client?

Butterfly correlation

Does the structure provide a shelter for the butterflies at their every stage of life cycle (from caterpillar to adult butterfly), for example, space for them to lay eggs? As butterflies love moisture but not a full spot of sun and strong wind, does the design provide a fairly shaded and protected shelter? The provision of food is another key factor for habitation, does the design reserve space for planting food plants for caterpillars, shelter for eggs and cocoons and nectar trap for adult butterflies? Besides, butterflies are attracted to a large range of colours, particularlly like blue, yellow and red, it would be great if these colours are applied.

Human connectivity

Does the structure provide shade and temporary shelter for passengers? Does the design incorporate the accessibility of the disabilities? For example, level access concern, minimizing the distance between the tram floor and platform etc. How will the movement of passengers in the tram stop? Will there be any interactions between butterflies and human? Can the tram stop increase connections between the city and the ecology?

DESIGN CRITERIA

ITERATIONS

Method 1 - Populate Geometry SPECIES

CUTTING SHAPE OF DOME

VARIATION OF UNITS

ITERATIONS

DESIGN CRITERIA

Sphere Radius: 50 Divide Curve: 6 Move unit Z: -10

Cone Radius: 57 Length: 51

Sphere Radius: 68 Divide Curve: 6 Move unit Z: -20

Cone Radius: 57 Length: 70

Sphere Radius: 49 Divide Curve: 6 Move unit Z: -63

Base Unit

Sphere Radius: 20 Divide Curve: 6 Move unit Z: -51

Base Unit

Sphere Radius: 43 Divide Curve: 8 Move unit Z: -84

Base Unit

POPULATING SURFACE

PERFORATION VARIATION

Base Surface

Polygon: Radius: 5 Segment: 4

Base Surface

Polygon: Radius: 4 Segment: 3

Base Surface

Polygon: Radius: 4 Segment: 7

Base Surface

Polygon: Radius: 4 Segment: 9

Base Surface

Polygon: Radius: 3 Segment: 6

DESIGN CRITERIA

ITERATIONS

Method 1 - Populate Geometry SPECIES

VARIATION OF SPHERE HOST

DEPTH OF UNIT

ITERATIONS

No. of sphere: 3 Points on: Cube (1000 units)

No. of sphere: 6 Points on: Cube (2000 units)

No. of sphere: 6 Points on: Plane (1000 units)

No. of sphere: 6 Points on: Cube (2000 units)

No. of sphere: 6 Points on: 3D curve

DESIGN CRITERIA

Scale NU: -5

Scale NU: 0

Scale NU: 1

Scale NU: 2.5

Scale NU: 5

HOST TO UNIT RATIO

INVERSE UNIT

Divide Surface: U Count: 3

Scale NU: -0.5

Divide Surface: U Count: 4

Scale NU: -1

Divide Surface: U Count: 10

Scale NU: -5

Divide Surface: U Count: 20

Scale NU: -10

Divide Surface: U Count: 50

Scale NU: -20 DESIGN CRITERIA

ITERATIONS

Method 2 - Kangaroo add-on SPECIES

PULLING FORCES ON CIRCULAR UNIT ARRANGEMENT

PULLING FORCES ON STAGGERED SURFACE

ITERATIONS

DESIGN CRITERIA

Count : 25 Vector amplitude : 0.5

Count : 3 Vector amplitude : 2

Count : 25 Vector amplitude : 0.8

Count : 7 Vector amplitude : 2 Threshold : 4

Count : 15 Vector amplitude : 3.5

Count : 5 Vector amplitude : 3

Count : 20 Vector amplitude : 3.5

Count : 5 Vector amplitude : 5 Threshold : 11

Count : 30 Vector amplitude : 2

Count : 3 Vector amplitude : 2

ITERATIONS

Method 3 - Sphere Subtraction SOLID DIFFERENCE

SPHERE SUBTRACTION

Count: 30 Size : 5 Thickness : 4

Count: 25 Size : 50 Thickness : 10

Count: 30 Size : 20

Thickness : 78

Count: 200 Size : 100

Offset curve distance : 20

Weaverbird's mesh thicken : 9

Count: 100 Size : 1.5 DESIGN CRITERIA

SUCCE ITERAT SOLID DIFFERENCE

The generative outcome in has interesting formation of interrelated in a symmetrica These concept shows how technique represents a grea material can be carved into

PULLING FORCES ON CIRCULAR UNIT ARRAN

The generated iteration responds to the different aspects of the selection criteria. The co a form that is aesthetically appealing, it is viable for construction because it can be decom singular units that can then be fabricated and assemble on site. One of the most importa responding to the client, the design meets this by producing an arrangement of irregular resembling the natural ecosystem and therefore creating a potential for attracting butterflie design that can be easily adapted to a human scale because of the individuality of the u easy manipulation of their size.

DESIGN CRITERIA

ESSFUL TIONS

one of the solid difference by using the third reverse engineering method rectangular arms that extends through the surface. These series of arms are al manner that can represent the idea of connectivity through computation. a simple Brep difference can create such a unique complex structure. This at potential that can be applied into a more realistic scenario in which the an specific pattern by using CNC milling methods.

NGEMENT

omposition is mposed into ant aspects, r geometries es. It is also a units and the

DESIGN CRITERIA

This iteration has been developed by extruding the edges of the final reverse These creates a relationship of individual components that interconnect to e components are arranged so they the thicker end can be placed on neighboring component, without having any overlaps. This definition will be connections in the further development of the project.

AGGREGATIO

The mathematica order to generate values (paramete aggregation funct

In Grasshopper 3D the trajectory of th input values into th

This is a recurring c between units. It i generate a comp

This is the most suc 1) The aggregating way of constructio 2) The computatio 3) It creates a mor butterflies. 4) Its sequence co the same time, me

Because of the fle

DESIGN CRITERIA

EDGE THICKNESSES

e engineering outcome. each other. The individual the thinner end of the e useful for exploring joint

al definition of aggregation is a parametric technique that uses a function for aggregating input data. In e this function it is essential to calculate the level of the required characteristic or their defect. Then the ers) are assigned to the aggregation functions which is a process called parametric characterization of tions.

D, the aggregation functions are produced by a singular component or series of components that describe he aggregating patterns. The parameters will be determined by the number of aggregating units and the he definition.

concept throughout the Iteration Matrix and the successful iteration shows the interrelationship that exist is clear how one geometry which is then aggregated into a particular way based on a function can plete different form.

ccessful iteration and technique that meets the different points of the design criteria: g units can be manufactured in series which will then be assembled on site. At the same time it is a flexible on that can be adapted to any structural system. on principles will allow to explore the form and the joint connections. re unregulated structure which will be useful for creating a nature-like pavilion that can interact with the

ould be changed in different ways until a secondary skin in generated to conform the tram stop and at eet the site conditions and human co-habitaion with the insects.

exibility of aggregation, this has been considered as the most suitable solution for the project in discussion.

DESIGN CRITERIA

B.5 TECHNIQUE: PROTOTYPES

rototyping is one of the most crucial parts in our design since the purpose of it is for testing out the materialisation in relationship with our digital design. It will show us how does our design performs and works in reality when it is transformed into a physical fabrication. The following prototype will give us an opportunity to test materials, examine the structural system and explore connections prior to the production of our final model. Regardless of the success or failure of the prototypes, the information we gathered will enable to improve on our future models. As we observed from our iterations, we found that there is a common area from the outcomes - a recurring theme. This is an idea of aggregation which a single unit repeats itself infinitely in different ways, like along a surface etc, it may also have scale changes in this process. We then take this idea to our prototypes that we started with hexagons, this forms our first prototype. Our exploration in prototypes works concurrently with our habitat design. In order to create a habitat for butterflies, the proposed structure will need supports and plants to form such an atmosphere. The structure is divided into three layers, the outermost layer uses the technique of panelling and aggregation which was found in the technique development, the middle layer uses the technique minimal surface with aggregation and the innermost layer is a gridshell. The reason of using three layers is that the panel will hold the plants and allow the plants to grow along it, the minimal surface will hold the hydroponic system while the gridshell will provide support to the whole structure. Further details will be explained in the proposal.

DESIGN CRITERIA

Technique 1: Panelling

As we would like to bring the recurring theme to the reality, We explored the theme by using hexagons. Six hexagons are placed rep different directions with their arms attached together. In such way, panelling technique is discovered. When more panels are joined tog will then form a membrane for the structure that acts as a facade Panel 1 - Joint Material: White board, tabs are made for connections

A single unit is a trapezoid with tabs reserved for connections

For the prototypes, the tabs are being joined together by glue that we still need further investigation in how the connections will be done

Two units are joined together

Panel 2 - Hexagonal Grid Material: Resin 3D printing

This panel is develop on top of panel 1 that we extract the edges to form a hexagon. In order to make it more computational, we the command call â&#x20AC;&#x2DC;T-splinesâ&#x20AC;&#x2122; which forms the following panel. After that, fractal pattern is put on top of the panel to create density variation.

Top view

Close-up

Perspective

Panel 3 - Triangular Grid Material: Resin 3D printing Based on the above panel, we create the following panel with triangle instead of hexagon.

Top view 84

Close-up DESIGN CRITERIA

Perspective

peatedly in gether, they

A single panel is formed by 6 units

Panels are joined together at the edges

More panels are joined together to form a membrane

en apply a .

Perspective

Elevation Close-up DESIGN CRITERIA

Technique 2: Minimal Surface

In this technique, we combine recurring theme and the minimal surface to form our middle layer. The reason that we use a minimal surface it is a geometry that has the minimal surface. This also suits our project that it requires less material to fabricate while at the same time it is ae appealing. In the following prototypes, we then investigate minimal surface as aggregation and populate it around a ring. Minimal Surface 1: Schwarz P Material: Powder 3D printing

Single minimal surface Elevation

Single minimal surface Top view

Minimal surface population Top view

Minimal surface populati Elevation

Single minimal surface Elevation

Minimal surface population Top view

Minimal surface populati Elevation

Assemble of minimal surface

Assemble of minimal surfa

Minimal Surface 2: Gyroid Material: Powder 3D printing

Single minimal surface Elevation

Minimal Surface 3: Skeleton System Material: Resin 3D printing

Single minimal surface Elevation 86

DESIGN CRITERIA

Single minimal surface Elevation

is because esthetically

ion

Minimal surface population Close-up

ion

Minimal surface population Close-up

ace

The failure of the skeleton system is due to the restriction of fabrication of 3D printing. Also, the skeleton is too thin that it is not able to support itself which leads to breakage. Assemble of minimal surface DESIGN CRITERIA

Technique 3: Form-finding As we require a base structure to support our design, the gridshell technique is used so as to act as a mould to give shape and form to the upper layers. We started this form-finding stage from hyperbolic paraboloid, tensile structure and then we come to gridshell Gridshell Material: MDF Waffle Grid with interlocking joints

Elevation

Perspective

Close-up

Other Form-finding forms explored in Grasshopper:

Conoid

DESIGN CRITERIA

Enneper

Helicoid

Klein

Mobius

Paraboloid

CONCLUSION A

fter the exploration of the performance of the prototypes, we now have a deeper understanding on what will be feasible and applicable to our project. When discussing about the outermost layer - panelling, we found panel 1 is not applicable. The reason behind is because the brief requires us to create a habitat for butterflies and in order to create a habitat, it needs plants. Then we discovered panel 2 that uses T-Spline to create a skeletal panel which acts as a support for growing plant, this design will be the most suitable panelling out of the other options. As for the minimal surface, we find the Schwarz P is the best among others because it leaves a big space in the middle which allows the plants to locate its roots as well as concealing the hydroponic system. Lastly we found gridshell is the best option for the base structure due it stability and the easiness in fabrication.

DESIGN CRITERIA

B.6 TECHNIQUE: PROPOSAL

Provide habitat overhead

ur group is proposing to build an insect habitat tram stop which will be located along Swanston Street that our clients are mainly butterflies and human. As we were examining the brief, the following design concepts have been generated that will guide us through our project. It includes increasing habitat for butterflies and their predators in the city, broadening the definition of space on street, providing habitat overhead, providing sheltered tram stop, connecting isolated habitat on both public and private properties and mitigating urban heat island effect by increasing green space.

DESIGN CONCEPT Broaden the definition of space on street

As we have explored the previous chapter, the structure is divided into three layers, the outermost layer is a panel, the middle layer is a minimal surface and the innermost layer is a gridshell. Increase habitat for butterfly and their predators within the city

Increase habitat for butterfly and their predators within the city By creating a butterfly habitat tram stop, the plants on the structure will attract more butterflies to stay at the tram stop as well as in the city. When the number of butterflies increases, the number of predators will also increases.

Broaden the definition of space on street The original tram stop is defined as a transportation area but the future tram stop will be defined as both a transportation and green space.

Sheltered tram stop

Connecting isolated habitat on both public and private properties As the location of the overhead habitat is inside a residential area, there is a high possibility that the habitat can attract other insects from the residential area to stay in the tram stop. This will create a linkage between different habitats which will increase the biodiversity.

Human is our another client that we will make use of the habitat of butterfly to provide a sheltered tram stop. As the hydroponic system will run through the pots layer, this will provide a cooling effect in summer which will lead to the creation of micro-climate. 90

DESIGN CRITERIA

Human-side: Sheltered tram stop Eg. Seating and waiting spaces

Connecting isolated habitat on both public and private properties Site Plan

Address and mitigate the urban heat island effect by increasing green space

Provide habitat overhead The overhead habitat structure consist of 3 layers, including the gridshell, the minimal surface and the panel layer which allows plants to be grown and supported properly. The plants will then create a habitat for the butterflies. Address and mitigate the urban heat island effect by increasing green space As plants are grown on top of the tram stop, the hydroponic system will help to lower the temperature in that area. If this design is implimented into a larger scale and network, it will then help to mitigate the urban heat island effect.

Perspective DESIGN CRITERIA

Starting from the panels, a hexagonal panel created by our third reverse engineering - sphere subtraction and use of T-spline is the outest layer. The main reason that it is chosen is due to aesthetics and the plants can be supported to grow nicely above it. Since plants require water to grow, provision of water underneath them is crucial. Hydroponic system is the best way we found that can be implemented to our design. Hydroponic system is different method of growing plants that it rather use mineral nutrients in water solvent than soil to carry nutrients in the plants. As the future agriculture is moving towards this trend, we would like to adopt this to part of our design. In order to apply this growing method, we will need a structure to hold the pipe, this would be our second layer minimal surface. As we have explored prototypes on minimal surface in the previous chapter, we decided to use Schwarz P since it creates pipes and holes that can match to the above panel. This will allow us to control the population of plants and aesthetics. Though it is said that the panels can be match to the pipes, the investigation of matching is still under progress and the connection is our biggest challenge. As for the gridshell, we have been exploring different typology to create membrane by using the plug-ins like Kangaroo and Karamba. Kangaroo is a generative process of form-finding while Karamba performs structure analysis. We want it to be a single surface that it creates a cover for both sides of the tram stop which will look like a tunnel. At the same time, we want it to look subtle which allows sunlight so it will not overshadow too much. This way will attract more butterflies as they like to stay in brighter areas.

Hexagonal Panel Layer

Schwarz P

Double Gyroid

Skeletal System Minimal Surface Layer

The connections between the three layers and the matching of pipes and panels are yet to be developed, but our initial intention is to create a single surface that can hold growing plants to provide a habitat for butterflies. Anyhow, the details will further be explored in Part C.

Conoid Structural Layer

DESIGN CRITERIA

Enneper

Helicoid

Klein

Mobius

Elevation

Gyroid

Elevation

araboloid

DESIGN CRITERIA

B.7 LEARNING OUTCOMES OBJECTIVE 01 INTERROGATING A BRIEF

OBJECTIVE 03 DEVELOPING SKILLS IN VARIOUS THREE-DIMENSIONAL MEDIA

As we all know the brief of the tutorial since the first week, we have been trying to pull ideas together and fit them into it. It is important that we have a fixed client - butterfly and to explore on their habitat so as to design a suitable habitat for them to stay in. The reason that we chose the butterfly house as our reverse engineering project is because it is creating a habitat for butterfly which shares the same aim as our brief. This has help us a lot when we are moving to the iteration part because the exploration of butterfly egg pattern and form-finding is exactly what we wanted to do. The iterations we have been exploring have facilitated our proposal as we find our way towards the basic structure and design of the tram stop. We consistently referred to the brief to maintain its relevancy and not to go too far from it.

I have been exploring and exposed to a wide range of media throughout the semester. One of the most common media that includes 3D modelling and communications are Rhino and Grasshopper. On the other hand, the graphic communication skills are developed through the journal and sketchbook. At the same time, the physical modelling has demonstrate our exploration in grasshopper and display it in the real world. In the previous semesters, I have only use laser-cut before but this course allows us to transfer our ideas in a pretty concise way. However, we still have to think what material will be used in the real world as 3D printing did not consider the structure and connection part at all. It is important to consider the material as we will be building our tram stop in the real world instead of grasshopper.

OBJECTIVE 02 DEVELOPING AN ABILITY TO GENERATE A VARIETY OF DESIGN ITERATIONS

OBJECTIVE 04 DEVELOPING AN UNDERSTANDING OF RELATIONSHIPS BETWEEN ARCHITECTURE AND AIR

Designing iterations has been the most challenging part due to the sheer amount of iterations that has to be done in a short period of time. We have been pushing ourselves so hard as we aim at moving as far as possible so as to widen our range of exploration in grasshopper. At first, we did some basic iterations by just adding some grasshopper components in and moving the number slider. However, we incorporated some plug-ins as we moved on, eg. Kangaroo, Weaverbird, Lunchbox etc. We have been failing a lot in the process but it has definitely aided us a lot to realises the strength and weaknesses of the design and also the constraints of the parametric algorithm. The iterations does not only show the progress of exploration but also a record of work flow that allow us to refer back easily when needed.

Computational design is about isolating ourselves in grasshopper and to focus on the paramEtric design. As we are learning grasshopper and thinking our design, it is easy that we forget about the physical site. Therefore, we have to spend some time on the site in order to conduct an analysis and to make better observation so as to help our design to fit into the site and matches with the local atmosphere. Also, one of the interim feedback recommended that our tram stop can actually have a softer edge that extends to the Lincoln Square. I think this is another aspect that we can explore when we move to the Part C.

DESIGN CRITERIA

OBJECTIVE 05 DEVELOPING THE ABILITY TO MAKE A CASE FOR THE PROPOSALS As we have a lot of iterations which means we have a lot of ideas and we need to narrow it down to one for our proposal. When we are discussing our proposal, it is very challenging because we may have to abandon our original designs and to create new ones. Also, we will sometimes merge two ideas together to form a new iteration. After going through all these processes, we are satisfied with what we have done, knowing that we have spent countless hours on this project, we will continue to strive for the best outcome.

OBJECTIVE 06 DEVELOP CAPABILITIES FOR CONCEPTUAL, TECHNICAL AND DESIGN ANALYSIS OF CONTEMPORARY ARCHITECTURAL PROJECTS Our attempt on the reverse engineering of the Butterfly House requires some basic understanding on the geometry units. At the same time, we will need to study its design intent all the way to realization in order to learn how the architect brainstorm her idea to how she realized as a prototype. As there are areas of overlap between patterning and biomimicry, we have also explore more in the way of creating different patterns and geometries. When we are exploring the form-finding method, it gives me a lot more idea how forms can be made and not just using a simple command from grasshopper. This has gave me an ability to analysise conceptual, technical and design of a contemporary architecture projects.

OBJECTIVE 07 DEVELOP FUNDAMENTAL UNDERSTANDINGS OF COMPUTATIONAL GEOMETRY, DATA STRUCTURES AND TYPES OF PROGRAMMING I have definitely improved a lot on my computation skills by watching the online tutorials and also some other youtube videos. It enables me to imagine the geometries is formed in a logical way, for example, the formation of icosahedron can be very complicated. Besides, it also allows us to see the potentials and limitations of digital design. Through trying out different commands, looking for ways to solve the errors and even raising questions in the technical sessions on Monday, it broadens my knowledge and inspires me how grasshopper is work logically. Though I am not a professional grasshopper user, I have tried out other plug-ins like Kangaroo, Weaverbird etc. Plug-ins such as Karamba. Ladybug, Python etc. are yet to explore.

OBJECTIVE 08 BEGIN DEVELOPING A PERSONALISED REPERTOIRE OF COMPUTATIONAL TECHNIQUES SUBSTANTIATED BY THE UNDERSTANDING OF THEIR ADVANTAGES AND DISADVANTAGES AND THE AREAS OF APPLICATION The weekly design task and grasshopper exercises in my algorithmic sketchbook will be presented in my future portfolios. Grasshopper techniques and other computational skills will be very useful in the future as we progress into the realm of computational design.

DESIGN CRITERIA

B.8 ALGORITHMIC SKETCHES IMAGE SAMPLER

Perspective 98

DESIGN CRITERIA

Perspective DESIGN CRITERIA

LOUVRE

The thickness of the panel is controlled by a curve while the rotation of the panel is controlled by a attraction point.

Top View

Perspective

100

DESIGN CRITERIA

GRAPH CONTOLLER

Perspective

DESIGN CRITERIA

101

GRAPH CONTOLLER

Perspective

102

DESIGN CRITERIA

Perspective

DESIGN CRITERIA

103

REFERENCE Case Study ArchDaily. ‘AD Classics: Barcelona Pavilion/ Mies van der Rohe’, ArchDaily, <https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe>[2 April 2018] Architecture Library. ‘Spanish Pavilion Expo 2005 - Haiki, Aichi, Japan’, Architecture Library, <http://architecture-library.blogspot.com.au/2013/12/spanish-pavilion-expo2005-haiki-aichi.html>[22 March 2018] Benjamin Aranda & Christopher Lasch. ‘Tooling’ (New York: Princeton Architectural Press, 2006), p.83 Biomimicry Institute. ‘Nature’s Unifying Patterns’, Biomimicry Institute, <https://toolbox.biomimicry.org/core-concepts/natures-unifying-patterns/> [12 April 2018] Digiitalarchfab. ‘Spanish Pavilion’, Digiitalarchfab, <http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion>[22 March 2018] Mairs, Jessica. ‘Butterfly House’, dezeen, <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formationeggs-biomimicry/>[13 April 2018] Moussavi, Farshid and Daniel Lopez. ‘The Fuction of Form’ (Barcelona: Actar, 2009), pp.8 Rybczynski, Witold. ‘Do You See a Pattern’, SlateGroup, <http://www.slate.com/news-and-politics/2018/03/congress-scrambles-to-stuff-the-biggest-bill-of-the-year. html>[22 March 2018] Salingaros, Nikos. ‘A Theory of Architecture Part 1: Pattern Language vs. Form Language’, ArchiDaily, <https://www.archdaily.com/488929/a-theory-of-architecture-part1-pattern-language-vs-form-language>[22 March 2018] Tia, Kharrat, ‘The Butterfly Egg’, Wewanttolearn.net, < https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/> [13 April 2018] TOGAF. ‘Architecture Patterns’, The Open Group, <http://pubs.opengroup.org/architecture/togaf8-doc/arch/chap28.html>[22 March 2018] Zahner Company. ‘de Young Museum’, Zahner Company, < https://www.azahner.com/works/de-young> [26 March 2018]

104

DESIGN CRITERIA

Images ArchDaily. ‘AD Classics: Barcelona Pavilion/ Mies van der Rohe’, ArchDaily, <https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-derrohe>[2 April 2018] Benjamin Aranda & Christopher Lasch, ‘Work’ , <http://arandalasch.com/works/grotto/>[accessed on 12 April 2018] Farshid Moussavi Architecture, ‘Spanish Pavilion at the 2005 World Expo’ , <https://www.farshidmoussavi.com/node/27>[accessed on 22 March 2018] ICD/ITKE, ‘Photographs by Roland Halbe’ , < http://icd.uni-stuttgart.de/?p=8807 >[accessed on 10 March 2018] Mairs, Jessica, ‘Butterfly House’ , <https://www.dezeen.com/2016/06/28/tia-kharrat-university-westminster-architecture-graduate-butterfly-enclosure-formationeggs-biomimicry/>[13 April 2018] Tia, Kharrat, ‘The Butterfly Egg’ , <https://wewanttolearn.wordpress.com/2015/11/25/the-butterfly-egg/>[13 April 2018] Zahner Company, ‘de Young Museum’ , <https://www.azahner.com/works/de-young>[accessed on 26 March 2018]

DESIGN CRITERIA

105

PAR PROJECT P

106

PROJECT PROPOSAL

RT C PROPOSAL

PROJECT PROPOSAL

107

CONT INTRODUCTION DESIGN BRIEF PROJECT PARTNERS MELBOURNE CITY COUNCIL VICROADS/YARRA TRAM CLIENT BUTTERFLY SEASONAL VARIATION SITE ANALYSIS SITE CONTEXT SITE CONDITIONS INTERIM PRESENTATION - FEEDBACK C1 DESIGN CONCEPT AND SELECTION CRITERIA 1.1. STIGMERGY 1.1.1 AGENT-BASED MODELLING: PHYSAREALM ALGORITHM 1.1.1.1 PARAMETRIC INPUTS 1.1.1.2 PARAMETRIC LOGIC 1.1.1.2 AGENT BASED MODELLING ITERATIONS 1.1.2. SITE SPECIFIC DESIGN 1.1.2.1 GENERATIVE MATRIX 1.1.2.2 SUCCESSFUL ITERATIONS

108

1.1.3 ISOSURFACE APPROXIMATION 1.1.3.1 GENERATIVE MATRIX 1.1.3.1 SUCCESSFUL ITERATION

PROJECT PROPOSAL

1.2. AGGREGATION 1.2.1 CREATING THE UNIT: AER 1.2.1.1 THREE-DIMENSION 1.2.1.2 STIGMERGIC UNIT 1.2.1.3 METABALL ISOSURF 1.2.1.4 MESH RELAXATION 1.2.2 AGGREGATING THE ISO 1.2.2.1 GENERATIVE MATR 1.2.2.2 SUCCESSFUL ITERA 1.2.3 UNIT VARIATION: FLOWE 1.2.3.1 GENERATIVE MATR 1.2.3.2 DESIGN UNIT RAN 1.2.4 BUTTERFLY COLOR PERC 1.2.4.1 ADDING COLOR IN 1.3 MERGING THE TWO CONCE 1.3.1 FINAL DESIGN 1.4 PARAMETRIC PROCESS SUMM 1.4.1 PARAMETRIC PROCESS

C2 TECTONIC ELEMENTS 2.1 MATERIALITY 2.1.1 STEEL PIPES AND CONNE 2.1.2 SELF-HEALING CONCRE 2.2 DETAIL DIAGRAM 2.3 FABRICATION 2.3.1 ASSEMBLY OF PIPES AND 2.3.2 CONCRETE 2.4 PROTOTYPE PHOTOS

TENTS

ROPONIC SYSTEM NAL ADAPTATION

FACE UNIT N UNIT OSURFACE: FOX ALGORITHM RIX ATION ER ROOT SIZE & ARRANGEMENT RIX: KANGAROO ALGORITHM NGES: SUN DISTANCE CEPTION NTO THE DESIGN EPTS

MARY

ECTORS ETE

D STEEL CONNECTORS

C3 FINAL DETAILED DESIGN C3.1 INCORPORATING THE DESIGN INTO HUMAN SCALE C3.3 PLAN C3.4 SECTIONS C3.5 ELEVATIONS C3.6 DESIGN SPECIFICATIONS C3.6.1 BUTTERFLIES VISUAL EFFECT C3.6.2 SHADOW C3.6.3 FABRICATION PROCESS DIAGRAM C3.6.4 WIND C3.6.5 WATER FLOWS C3.6.6 FABRICATION RANGES NUMBERS C3.6.7 PLANT GROWTH C3.6.8 EXPLODED DIAGRAM C3.6.9 STRUCTURAL ANALYSIS C3.6.10 DECAY C3.7 PERSPECTIVES C3.8 SITE MODEL PHOTOS C3.9 DETAIL 3D PRINT MODEL C4 LEARNING OUTCOMES C5 APPENDIX PRESENTATION PHOTOS C6 REFERENCES

PROJECT PROPOSAL

109

Design Brief

INSECT HABITAT + TRAM STOP

PUBLIC SPACE

PRIVATE PROPERTY

CONNEC

RAIN SHELER

SOLAR ACCESS

SEATING AND WAITING SPACE

110

PROJECT PROPOSAL

ISOLATED HABITAT

CTIVITY

BIODIVERSITY HOTSPOT

GREEN SPACE

GREEN CORRIDOR

MITIGATE HEAT URBAN ISLAND EFFECT

ECOLOGICAL HABITAT

ECOLOGICAL FUNCTIONING

BIODIVERSITY

PROJECT PROPOSAL

111

Design Brief

INSECT HABITAT + TRAM STOP

The resulting structure will define spaces on the street and provide habitat overhead, considering issues such as solar access, rain collection and storage, spatial definition and site specificity. The human-side programme will be for a sheltered tram stop, including seating and waiting spaces. It is required that this habitat will create, relate to and utilise public space. The design should be able to be scaled-up along the tram network, connecting isolated habitats on both public land and private property. The design proposal should address and mitigate the urban heat island effect by increasing green space.

112

PROJECT PROPOSAL

Pedestrian Circulation

Tram Circulation

Wind Pavilion

neewteb noitcaretnI dna tnalp ,yflrettub namuh

Sun Pavilion

aerA gnitiaW /gnittiS Sitting/ Waiting Area

Rain Pavilion

aerA gnittahC Chatting Area

ni gnitropsnarT Separated Circulation snoitcerid owt

Interaction between butterfly, plant and human

Transpor Transport in two two direc different directions

PROJECT PROPOSAL

113

PROJECT PARTNERS MELBOURNE CITY COUNCIL

UNIVERSITY SQUARE

LINCOLN SQUARE

Less insects

114

PROJECT PROPOSAL

ARGYLE SQUARE

More insects

he City of Melbourne recognizes that insects underpin thriving biodiversity and healthy ecosystems. It has been exploring the insect biodiversity since late 2014, and it had widened to include many other types of animals and plant species. It has been actively working with researches, businesses, volunteer groups and other parts of government to explore more on how to protect the unique biodiversity in Melbourne. The report has an significant implications for the management of the green spaces and parks in Victoria as it reveals a holistic and contemporary knowledge of Melbourneâ&#x20AC;&#x2122;s insect biodiversity, as well as their interactions with their hosting plants.

PROJECT PROPOSAL

115

PROJECT PARTNERS VIC ROADS/ YARRA TRAM

incoln Square tram stop is one the major interchanging tram stops in the city area. There are eight lines running through this stop and the destinations range from Melbourne University to East Coburg. Currently, it runs in D-class, Z-class and A-class tram which are the older trams. The proposal will be designed in a large scale that it will be able to accommodate at least two trams at a time with two E-class trams. In this case, the tram stop is ready for the latest and largest tram - E-class, for future use.

Lincoln Square Stop 3, Carlton

116

PROJECT PROPOSAL

TRAM SPECIFICATIONS

An example of a layout of an Easy Access Stops in Bridge Road, Richmond ,Victoria

Typical cross section of an Easy Access Stops in Bridge Road, Richmond, Victoria

Easy Access Stops platform grade

PROJECT PROPOSAL

117

CLIENT BUTTERFLY

utterfly is the main insect species that we are trying to attract, especially the imperial blue (Jalmenus Evagoras) since it is the native species in Victoria. The reasons that we are choosing butterfly as our client is because of its importance in ecology which it helps in pollination and promote the diversity of plants species.

eneral Facts

1. Flight Start and End - Late October/ November until April 2. Diet -Nectar rich plant 3. Flying Speed and Height - Maximum flying height: 2m - 5miles/hour (8 km/hour) 4. Climate - Butterflies are more active on warm days in spring, summer and autumn - During night, most butterflies perch on the underside of a leaf, crawl deep between blades of grass or into a crevice in rocks, or find some other shelter, and sleep 5. Butterflies in winter and spring - Butterfly lays eggs which lie dormant during winter, then hatching in spring into brown and black caterpillars

118

PROJECT PROPOSAL

ehaviour and life cycle

Basking – will determine the form of the building, most of the vegetation must face the North, so butterflies can sit facing sun Puddling – will determine the connection to the Park. Butterflies also need a puddle and sand Nectaring – will determine the implementation of plants with flowers into our design Mating – they use host plants that are different from nectaring plants, to lay their eggs and the caterpillars to feed themselves, therefore a diversity of plants is needed Therefore, the most suitable strategy will be the use of a designed Hydroponic system

ays to attract butterflies

1. Blossoms colour - red, yellow, orange, pink and purple 2. Nectar-rich plants - the nectar in flowers act as food for butterflies

Pincushion Flowers

Allium

Melaleuca

Leptospermum

Aster

Joe-Pye Weed

PROJECT PROPOSAL

119

BUTTERFLY

SEASONAL VARIATION

South Summer breeze 20-24 km/h

SPRING

SUMMER

9.6 - 19.6°C

August

September

October

14 - 25.3°C

November

December

January

February

Immature stages Egg hatching Flying period

120

PROJECT PROPOSAL

y March

South Cool Wind AUTUMN

WINTER

10.9 – 20.3°C April

Egg laying

6.5 - 14.2°C

May

June

July

August

Eggs dormant

PROJECT PROPOSAL

121

MOD

*Issue

122

PROJECT PROPOSAL

SITE ANALYSIS

incoln square plaza modifications

DIFICATIONS

Existing tree to be removed

Garden extended to retain slope

Granitic gravel

Additional planting

Lawn area Textured paving New stairs to align with Swanston Street Tram Stop New tactile indicators to existing stair

ed for Community engagement 23-10-15

incoln Square is a significant green space in Carlton, it is located at the heart of Melbourne’s district valued by students, residents, local workers and visitors because of New deciduous trees its sunny lawn, mature trees and gathering spaces. It was built in 1850s which was the same time as University Square and Argyle Square, this makes them one of Melbourne’s oldest parks. This is also Victoria’s first playground (circa 1907) and is the only playground in the catchment area.

ARTISTS IMPRESSION ONLY. THESE IMAGES ARE INTENDED AS A GUIDE ONLY AND ARE NOT TO BE USED FOR TENDERING OR CONSTRUCTION PURPOSES

PROJECT PROPOSAL

123

SITE CONTEXT L

incoln Square is a centre point from different main locations, including the University of Melbourne, Queen Victoria Market, Melbourne Central, State Library etc. Another noticeable connection is that it actually connects to the neighbouring green spaces, like the Royal Park, Melbourne General Cemetery, Flagstaff Gardens etc. When viewing it in a larger scale, the Lincoln Square locates at the boundary of six suburbs Parkville, Carlton, Fitzroy, Collingwood, East and North Melbourne. This further emphasis the strong network between Lincoln Square and other areas.

124

PROJECT PROPOSAL

125

SITE CONDITIONS T

here are significant number of pedestrians walking through Lincoln Square to get to some key destinations, like the University of Melbourne. In the morning peak, there are over 900 pedestrians while in the evening peak, there are 700 pedestrians. There are quite a lot of nectar trees around Lincoln Square, like Acasia, Allocasuarina and Corymbia, this also be the food option suitable for the butterflies. When discussing about the shadow at different time, the shadow during winter is longer since the sun is lower in the winter. While in summer, the sun is higher in the sky, so the shadow lays closer to the buildings. The City of Melbourne is planning to improve the park into a safer and easier path for people to move through Lincoln Square by upgrading the lighting, park entrance and pathways, including a new pathway along Lincoln Square North.

126

Winter Solstice 9AM -12 PM

12 PM - 5PM

Overshadowing

Summer Solstice 9AM -12 PM

12 PM - 5PM

Overshadowing

PROJECT PROPOSAL

Nectar Trees

Wind Direction

ST .

SW AN

ST ON

ST .

Pedestrian Density PROJECT PROPOSAL

127

128

PROJECT PROPOSAL

Interim Presentation FEEDBACK

he recommendations from the interim presentation centre around the following:

Reconsideration and refinement of: Massing: how does the structure sits in the site - Scale, orientation, spatial quality

1. Connection detail of the different layers when they are not in the same plane 2. Propose a stronger argument for minimal surfaces usage instead of just to minimize the material use and the distance between the units 3. Reconsider whether all three layers can be performed by one ingenious layer in order to make it a wholesome structure

Material and tectonics - Research the different performance of materials Solar access - design responding to solar - Detail research on hydroponic system, species of plant - Research on specific plant Dimensional variation in your growing medium - Different plant different size of medium Connections over a longer distance - Structural spanning of materials

4. Consider to utilize the elements on Lincoln Square - water body, trees and playground. Extra-functionality: Scale: Human usage? How to expand it to neighbouring? Scale for other purpose? - Bin, seats etc. 5. Consider ways to encourage butterflies from further fields into our site? Think of ways to attracting ecology

This project will address solutions and concerns in the following pages...

6. Computation and parametric inputs - what informs the design

PROJECT PROPOSAL

129

C.1 DESIGN

130

PROJECT PROPOSAL

N CONCEPT

PROJECT PROPOSAL

131

SELECTION CRITERIA FOR THE UNITS

132

PROJECT PROPOSAL

Constructibility

How is the structure being constructed? Is the design constructable? Is it practical in real life? Is this design too far-fetched?

Materiality

Computation

Does the computation process involve clientâ&#x20AC;&#x2122;s consideration? Is there any other exploration that can go further in the algorithm? Is there a better way to show the algorithm?

Easy Assembly

Butterfly correlation

Human connectivity

It mainly consists of structure and fabrication. Is this design feasible? How are elements connected? How does the iteration manage to be freestanding? How is the structure being supported? Does it require any additional support? How can it be fabricated? What technique and machine will be used for fabrication? Can the details be fabricated? What kind of fabrication will support the structure and reveal the pattern most which suits the habitat of the client? Does the structure provide a shelter for the butterflies at their every stage of life cycle (from caterpillar to adult butterfly), for example, space for them to lay eggs? As butterflies love moisture but not a full spot of sun and strong wind, does the design provide a fairly shaded and protected shelter? The provision of food is another key factor for habitation, does the design reserve space for planting food plants for caterpillars, shelter for eggs and cocoons and nectar trap for adult butterflies? Besides, butterflies are attracted to a large range of colours, particularlly like blue, yellow and red, it would be great if these colours are applied. Does the structure provide shade and temporary shelter for passengers? Does the design incorporate the accessibility of the disabilities? For example, level access concern, minimizing the distance between the tram floor and platform etc. How will the movement of passengers in the tram stop? Will there be any interactions between butterflies and human? Can the tram stop increase connections between the city and the ecology?

PROJECT PROPOSAL

133

STIGMERGY

e explored the bias and precision of estimates through simulating data sets. With the data, we were incapable to find out the true parameter values. The simulated data were generated from parameter values that are realistic for St. Francisâ&#x20AC;&#x2122; satyr, giving a normal standard against which to compare estimates derived from different techniques. We used simulations with constant, known detection and survival opportunity to question whether there are biases inside in the structure even with detailed information about the population. We did this while figuring out that we removed the bias induced by missing information that is a studies with indices, in which detection and survival probabilities generally changes over different time and space.

PHYSAREALM ALGORITHM Biomimicry looks for resolutions to human challenges by implementing methods from nature. Researchers have found out that Physarum Polycephalum, an eukaryotic microbe growing in nature, can solve a lot of spatial planning problems. On the other hand, a group of Japanese researchers has shown that P. polycephalum can search for the shortest route connecting two food sources when that are located in a maze with two oatmeal flakes. It is also powerful at handling with more sources. Furthermore, when reading a 2010 paper, it states that P. pocepalum generated a network which is really alike to the existing Tokyo train system when oatmeal flakes were dispersed to represent towns on a map of the Tokyo area.

134

PROJECT PROPOSAL

Physarum polycephalum, which means the “many-headed slime”, is a mold that inhabits cool, shady and moist places, like decaying logs and leaves. P. polycephalum is one of the simpliest eukaryotic microbes to cultivate in the culture, and has been used as a model organism for many studies involving amoeboid movement and cell motility. For example, a team of Japanese and Hungarian researchers have found out that P. polycephalum can search for the short route which solves the Shortest path problem. Moreover when they are grown in a maze with oatmeal at two spots, P. polycephalum rules out all the other paths in the maze, except the shortest route connecting the two food sources. An English computer scientist Jeff Jones have investigate into the generation of this alluring creature. He had published a book called ‘From Pattern Formation to Material Computation’. In this book, he embraced a synthesis approach and a mobile multi-agent system with some very straighforward individual behaviours employed. The presented model regenerates the biological behaviour of Physarum; the generation, growth and minimization of transport networks. Based on Prof. Jones’s Processing program, the algorithm was put it to 3D form which is the plugin for Rhino/ Grasshopper. Then, some new settings was added to gain more artistic expression.

PROJECT PROPOSAL

135

AGENT BASED MODELLING PHYSAREALM ALGORITHM

The Algorithm is an open-source tool named Physarealm is developed for simulation in Rhinoâ&#x20AC;&#x2122;s graphical algorithm editor, Grasshopper. The tool adopts a previous stigmergic multiagentmalgorithm for simulation and expands its boundary into three dimensions. In addition, this tool adds some custom rules, thus giving the designer more creative control over the produced results.

INPUTS

Butterfly behaviour

INTRINSIC BUTTERFLY BEHAVIOUR Lifespan 3.5 days female 5.9 days male

Maximum speed of butterflies flying: 8 km/hour

BEHAVIOUR BASED ON NEARBY NEIGHBOURS Death Distance 3m Possibility of the agent to change direction: 60%

Monarch agents change their behavior based on milkweed density of habitat p their perceptual range. They also adapt their movement behavior according to occupied during recent steps. Monarch agent movement and egg-laying decisions are based on interactions patches. Habitat patches are delineated in a Geographic Information System (G agents interact with the landscape, they make decisions to move toward patch characteristics of the patch they currently occupy and other patches they can

BEHAVIOUR BASED ON SITE Approximate number of butterflies species in Melbourne:

45 species (this number will be used as the initial population as an approximation

Memorisation behaviour:

Agents are assumed to sense nectar flowers using olfactory or visual cues (Bergs Blackiston et al., 2011; Garlick, 2007). In the model, the density parameter serves sensory input.

136

PROJECT PROPOSAL

Most animals make use of color information, including wavelength, spectral puri as they explore their environments. Butterflies in particular rely on light in a variet contexts, and the range of their light perception, which in some taxa extends fro through red (300 to 700 nm), is among the broadest known in the animal kingdo Chittka, 2001; Silberglied, 1984). http://jeb.biologists.org/content/214/3/509

Agent sensory capabilities

patches within o patches they

s with habitat GIS). As monarch hes based on the perceive.

n only)

The agent has multiple sensors to detect the level of chemo-attractive trail concentrations in front of it. All the sensors are on a sphere centered at the agentâ&#x20AC;&#x2122;s location. We can describe sensor locations using four parameters in a spherical coordinate system. The coordinate system use the agentâ&#x20AC;&#x2122;s direction as the z axis. Sensing Offset (SO) is the radial distance to each sensor. Sensing Angle (SA) is the maximum polar angle. Detect Directions R(NR) is the number of sensors at a particular latitude, and therefore the azimuthal angle between neighboring sensors at the same latitude. More on how the algorithm works: http://papers.cumincad.org/data/works/att/caadria2017_063.pdf

PARAMETRIC INPUTS INTRINSIC BUTTERFLY BEHAVIOUR Birth/Deat h Maximum Speed Detect direction

BEHAVIOUR BASED ON NEARBY NEIGHBOURS Death Distance Possibility Changing Direction

BEHAVIOUR BASED ON SITE Initial Population Sensor

strom et al., 1994; s as a measure of

ity and intensity, ty of behavioral om ultraviolet om (Briscoe and PROJECT PROPOSAL

137

Box Environment: Area of analysis

Optimal population Monitoring technique

Obstacles: Buildings

The scheme which monitors butterfly abundance, has been thoroughly t has been successfully applied to monitor other day-flying insect groups. It i described in greater detail here. The method depends on standardized trans of adult butterflies (Pollard et al. 1975; Pollard & Yates1993) and is summar figure in the simplified form used to instruct volunteer recorders. First, a repr biotope (Brereton et al. 2003) is selected for long-term monitoring and a fixe route is chosen, typically stratified into up to 15 sections to subsample major in habitat or management. This route is walked at least once a week from 1 September (in the UK) under defined conditions of weather, time of day, e adult butterflies are active, and every sighting of each species made in an 5 m X 5 m X 5 m box is counted in each section. At the end of the year, weekly counts are summed for each species to provide an index of abun each generation. Similar data from other sites are collated centrally to p regional or national index of abundance for each species, and these in turn a time-series of population change when counts are repeated on the sa successive years.

Diagram of five steps in national schemes for using transect counts to generate time-series of butterfly population change

PARAMETRIC INPUTS

Area Building Footprints

Extrude

Maximum height 138

PROJECT PROPOSAL

Food source: Tree Locations

tested and is therefore sect counts rized in the resentative ed transect r variations 1 April to 29 etc., when n imaginary the mean ndance for produce a n generate ame sites in

Nectar trees suitable for butterflies

Population of nectar trees around lincoln square park

PARAMETRIC INPUTS

Geographic Coordinates Points

Box

Tree heights PROJECT PROPOSAL

139

Butterfly 1 behaviour

Tree Locations

GIS Data - Excell

Connecting parameters, represented by numbers, to the settings input on the Physarealm algorithm

City Council Tree Data

Filtering the tree data information from City Council Website.

Excell Spreadsheet Data

INTRINSIC TO THE BUTTERFLY Birth/Death Maximum Speed

Filter Nectar trees categories

Detect direction Geographic Coordinates

BASED ON NEARBY NEIGHBOURS

Tree heights

Death Distance Possibility Changing Direction BASED ON SITE

Arc GIS

Add XY Data Event

Placing the coordinates into a map

Add XY Data Event

Initial Population

Crop Area

Sensor Create file Geodatabase Table

Export Shapefile

Convert Table to .xlxs

2 Importing Shapefile and Excell into Grasshopper 3D

File path

Import Shapefile

Read Excel Sheet (TT Toolbox)

Data

Deconstruct point

Explode Tree

Extruding the buildings on site to create solids as obstacles

Obstacles

Building Footprints

Extrude

3 Area of Analysis Creating a 3D box as the area of analysis

Area Box

Crop Area

Maximum height

Cull Index Remap

Constructing the points in a 3D space that will represent the nectar trees/ food source

140

PROJECT PROPOSAL

Construct point

INPUTS

AGENT BASED MODELLING Agent Based Modelling PARAMETRIC LOGIC

Parametric Logic

O Resulting Butterfly Population Physarealm - Grasshopper 3D Creating the a new population of butterflies on the site, based on all the four input parameters, represented by POINTS and connecting these points with a series of interconnected LINES.

Settings

Box Environment Population position

POINTS

Physarealm Population interconnect Populate geometry

LINES

Emitter points

Food points

InitilizaAgentsAndEnvironment Loop

Physarealm pseudocoding

updatePopulation updateEnvironment If( someCriteria ) removeAgentTest divideAgentTest Endif

Endloop

OUTPUTS

PROJECT PROPOSAL

141

AGENT BASED MOD

Underpopulated butterfly intensity

n = 46

Optimal butterfly intensity Different populations of butterflies around Lincoln Square. To calculate the most optimal population for our site it was used the method mentioned in page 188: Optimum population of butterflies in an area: 0.25km length => 300 butterflies Our defined area 1.85 km length => 2220 butterflies

n = 2332

Overpopulated butterfly intensity

n = 3188 142

PROJECT PROPOSAL

DELLING ITERATIONS

n = 371

n = 834

n = 2428

n = 2498

n = 9554

n = 20780 PROJECT PROPOSAL

143

SITE SPECIFIC DESIGN BOUNDARY

Defined area

144

PROJECT PROPOSAL

AVOIDING OBSTACLES

North barrier Redirect WINTER BREEZE, by letting it pass around and through the structure

Water Fountain The existing water fountain will left uncovered

Tram Tracks Allowing the trams to pass through

PROJECT PROPOSAL

145

SITE SPECIFIC DESIGN FOOD SOURCES

Nectar tree

146

PROJECT PROPOSAL

CONNECTIONS

Bridging both sides of the road

PROJECT PROPOSAL

147

GENERATIV

NO SITE SP

SPECIES

ITERATIONS

NO OBSTACLES n=245

RANDOM POINT EMITTERS n=145

RANDOM FOOD POINTS

NO SITE OBSTACLES 148

PROJECT PROPOSAL

n=102

n=458

n=234

n=573

VE MATRIX

PECIFICS

n=752

n=3245

n=1035

n=5602

n=902

n=671

n=5921

n=9302 PROJECT PROPOSAL

149

GENERATIV

CONSIDERING AL

SPECIES

ITERATIONS

SPECIES 1 n=410

n=1056

n=312

n=805

n=274

n=1149

SPECIES 2

SPECIES 3

150

PROJECT PROPOSAL

VE MATRIX

LL SITE SPECIFICS

n=2502

n=13002

n=23204

n=1782

n=9702

n=21415

n=2629

n=16267

n=82320 PROJECT PROPOSAL

151

SUCCESSFUL ITERATIONS

n=1782 POPULATION POSITION

152

PROJECT PROPOSAL

n=1782 POPULATION INTERCONNECTION

PROJECT PROPOSAL

153

ISOSURFACE APPROXIMATION CHROMODORIS ALGORITHM

he libraryâ&#x20AC;&#x2122;s primary function is extremely fast voxel sampling, isosurfacing and smoothing.

Population interconnect

LINES

Curve

Split curve into segments of 1 length

Distance Average

INPUTS

154

PROJECT PROPOSAL

Bounds

Remap th new n

he numbers into a numeric domain

Sampler Voxels (Customised)

Close Voxel Data

Build Isosurface

Quick Smooth Isosurface

Approximation of Curvature

OUTPUTS

PROJECT PROPOSAL

155

ITERATION MATRIX SPECIES

SPECIES 1

SPECIES 2

OTHER ITERATIONS

156

PROJECT PROPOSAL

ITERATIONS

PROJECT PROPOSAL

157

SUCCESSFUL ITERATIONS

POPULATION POSITION

158

PROJECT PROPOSAL

SURFACE APPROXIMATION

PROJECT PROPOSAL

159

AGGREGATION

To produce a form that would be a catalytic agent which may become many forms rather than just a form for its own sake. The mathematical definition of aggregation is a parametric technique that uses a function for aggregating input data. In order to generate this function it is essential to calculate the level of the required characteristic or their defect. Then the values (parameters) are assigned to the aggregation functions which is a process called parametric characterization of aggregation functions. In Grasshopper 3D, the aggregation functions are produced by a singular component or series of components that describe the trajectory of the aggregating patterns. The parameters will be determined by the number of aggregating units and the input values into the definition. This is a recurring concept throughout the Iteration Matrix and the successful iteration shows the interrelationship that exist between units. It is clear how one geometry which is then aggregated into a particular way based on a function can generate a complete different form. Some of the design criteria: 1) The aggregating units can be manufactured in series which will then be assembled on site. At the same time it is a flexible way of construction that can be adapted to any structural system. 2) The computation principles will allow to explore the form and the joint connections. 3) It creates a more unregulated structure which will be useful for creating a nature-like pavilion that can interact with the butterflies. 4) Its sequence could be changed in different ways until a secondary skin in generated to conform the tram stop and at the same time, meet the site conditions and human co-habitaion with the insects. Because of the flexibility of aggregation, this has been considered as the most suitable solution for the project in discussion.

160

PROJECT PROPOSAL

orms in a group-form have their own built-in link, whether expressed or latent so that they may grow in a system. They define basic environmental space which also partakes of the quality of systematic linkage. Group-form and its space are indeed proto-type elements, and they are prototypes because of implied system and linkage. The element and the growth pattern are reciprocal – both in design and in operation. The element suggests a manner of growth, and that, in turn, demands further development of the elements, in a kind of feedback process. On the other hand, the element in mega-form does not exist without a skeleton. The skeleton guides growth and the element depends on it. The element of group-form is often the essence of collectivity, a unifying force, functionally, socially, and spatially." - Fumihiko Maki

here is need to distinguish ‘forwm’ from ‘design’. Form implies what a building, whether it be a church, school, or house, would like to be whereas the design is the circumstantial act evolving from this basic form, depending on site condition, budget limitation or client’s idea, etc.” - Louis Kahn

n an open aesthetics, form is a master key not of any aesthetic significance in itself, though capable of reciprocating the constant change of life… Open aesthetic is the living extension of functionalism. It may be easy for someone to invent a geometric form and call it group-form because such forms have characteristics of being multiplied in a sequential manner. This is however, meaningless, unless the form derives from environmental needs." - John Voelker

PROJECT PROPOSAL

161

CREATING THE UNIT AEROPONIC SYSTEM

n design concept 2, we are incorporating an aeroponic system into our design. There are a few reasons behind our choice. The first reason is the adaptability of this system into a large range of plants. As aforementioned, butterflies are attracted to colourful and nectar-rich flowers. With this system, a lot of types and variations of species can be clustered into the same strategy. The second reason is that it does not need soil to grow which means we can grow them in any space. As our design will be a hanging garden that the plants will be hanging in the air, this system allows a larger flexibility in our design structure with fewer constrains. The third reason is that we would like to incorporate this future way farming into our design. In the future, we will be facing the problem of overpopulation and land shortage. With the aeroponic system, the soil will not be one of the necessities for planting anymore, it can be done anywhere.

162

PROJECT PROPOSAL

AEROPONIC SYSTEM COMPONENTS

Plants Netted pots Mist noozles Water pipes Water nutrients Water Timer

he way of aeroponic system works is that the roots of plant is hanging in mid-air in order to let them to get the maximum amount of oxygen. The more oxygen they get, the faster the plant will grow. This is the main benefit of the aeroponic system. The roots are then hanged down inside the growing chamber where they are sprayed with nutrient solution from mister heads regularly. This regular water cycle will provide moisture for roots and prevent them from drying out, as well as providing nutrients for plants to grow.

PROJECT PROPOSAL

163

THREE DIMENSIONAL ADAPTATION

Conversion of hydroponic pipes into a three-dimensional structure

1 Axis

2 Axis

3 Axis

164

PROJECT PROPOSAL

Three dimensional view of water pipes

eginning from a one directional shape which is a pipe with aeroponic system, we decided to turn it into a two directional one so as to get some interesting form with more variation. However, the two directional form will not allow us to develop forms in the Z axis. Therefore, we further evolve the form by twisting part of the two directional shape in order to generate a three directional configuration. This will then allow us to build a structure that extends to Z axis and develop a design spanning over a larger surface.

PROJECT PROPOSAL

165

STIGMERGIC UNIT GENERATIVE MATRIX

SPECIES

SPECIES 1

SPECIES 2

SPECIES 3

166

PROJECT PROPOSAL

ITERATIONS

SELECTION CRITERIA Computation Constructibility Materiality Easy assembly Butterfly/Human relation

he units are created using an agentbased model called Physarealm. It locates a point in the middle and spreads them to a certain boundary, for example, the corner of a box. By using the 3 axis geometry as a boundary for the agents to run through, we can get the approximate surface around the path it takes. This method has a high level of computation as well as the butterfly and human relation. However, it has a low constructability, materiality and hard to asseble due to the complex resulted form.

Easy Assembly

PROJECT PROPOSAL

167

METABALL ISOSURFACE UNIT GENERATIVE MATRIX

SPECIES

SPECIES 1

SPECIES 2

168

PROJECT PROPOSAL

ITERATIONS

SELECTION CRITERIA Computation Constructibility Materiality Easy assembly Butterfly/Human relation

he units are created at the end points of the three axis and centre. By using the algorithm of metaball, it will merge the three balls at the end of the axis so as to create a variating size of the field. It fulfills all the requirements in the selection criteria except the easiness of assembly. Due to the curve surface of the metaball at the end, it is very hard to assemble the units so we may have to think of alternatives to solve this problem.

Easy Assembly

PROJECT PROPOSAL

169

MESH RELAXATION UNIT GENERATIVE MATRIX

SPECIES

CHANGING THE PIPE RADIUS AND RELAXATION STRENGTH

170

ITERATIONS

radius = 3 relaxation = 0.6

radius = 4 relaxation = 0.8

radius = 4.5 relaxation = 0.8

PROJECT PROPOSAL

radius = 3 relaxation = 0.5

radius = 5.0 relaxation = 0.8

radius = 3.5 relaxation = 0.

radius = 5. relaxation =

.5 0.7

SELECTION CRITERIA Computation Constructibility Materiality Easy assembly Butterfly/Human relation

y using Kangaroo, it will take the three axises and add thickness to them. The relaxation of units will be done with by a common kangaroo algorithm. This will then variate the size of the units. The resulted unit fulfills all the selection criteria which is the most optimal unit that we will be using in our design.

radius = 3.5 relaxation = 0.7

radius = 6 relaxation = 0.5

Easy Assembly PROJECT PROPOSAL

171

AGGREGATING THE ISOSURFACE FOX ALGORITHM

angaroo

Create a parametric tetrahedron with a truncation parameter

Area Deconstruct Brep

Retrieve a sp item from a

ia implementation of relation based design, parametricism introduced complexity, which is unparalleled in any previous architectural style. This complexity enabled designers to search for new and unconventional approaches towards design. It is also one of main critique points against parametricism. When dealing with a continuous form, which is subdivided into constructor elements, only a one-way relation is established - "the whole" shapes "the part", but 'the part" has no influence over "the whole", thus the in-dependency of the part is lost and in turn each part becomes different in shape. This greatly increases the cost for production. If the relation were to become bi-directional then we could define which parameters of the part, and which parameters of the whole are being read as canon (locked) in turn enabling us to use uniform elements for non-uniform assemblies. During the workshop students have generated series of tests of aggregated branching structures within a volume, which in some cases are present in the exhibition. Five of these tests have been produced, to analyze their structural properties, as well as rationalize the assembly workflow. This exhibition is meant to showcase the strengths as well as shortcomings of said structures.

Mesh Create Tile

Planes

172

Item

PROJECT PROPOSAL

Explode Tile

Aggregation

pecific a list

Create a vector between two points

Line

Pipe

Perform a solid union on a set of Breps Create a plane perpendicular to a vector

PROJECT PROPOSAL

173

GENERATIVE MATRIX SPECIES

ITERATIONS

CHANGING THE SIZE AND NUMBER OF UNITS n=30

174

PROJECT PROPOSAL

n=134

n=467

n=870

PROJECT PROPOSAL

175

SUCCESSFUL ITERATION

Number of Units= 2997 This number of units has been selected based on the size of the unit in real scale, which is 1m. This is to allow easy transportation and assembly on site. 176

PROJECT PROPOSAL

177

FLOWER ARRANGEMENT

he reason behind laying out the flower in a certain arrangement is that we are creating unit variations by researching on the plants that we are planning to placed on this pavilion. As each kind of plants will have a different root size. Throughout the research we found the best type of plants to create different kinds of mosaics based on the different factors, such as the sun and wind requirement of both the butterflies and flowers. Eventually we found the most optimal arrangement that consists of the four types of plants, including Acasia Decurrens, Acasia Dealbata, Sweet Bursaria and Everlasting Daisy. In order to match our escalating structure, we decided to put the highest plant, Acasia Decurrens, at the lowest point so it will not cover the sunlight for the shorter plants. Also, since Decurrens are shade tolerant so it can tolerant the lack of sunlight at certain times of the day. While the placement of Dealbata and Bursaria are also based on its sunlight requirements. As for the Everlasting Daisy, they require most amount of sunlight so it is facing north so as to fulfill its sunlight requirement. These four species has their own functions to serve for the butterflies, like acting as a host plant for them to lay eggs and providing nectar for both caterpillar and butterfly.

Acasia Decurrens - Height: Tall shrub to small tree 3-10m - Root Depth: Deep 80-150cm or greater - Light: Shade tolerant - Function: Provision of host plant with attendant ants for butterfly to lay eggs Acasia Dealbata - Height: Shrub less than 2m tall - Root Depth: Deep 30-100cm - Function: Provision of food for caterpillar

178

PROJECT PROPOSAL

Sweet Bursaria - Height: Small shrub 1.5-4m tall - Root Depth: Deep 30-100cm - Light: Sunny and light shade - Function: Provision of nectar for butterfly Everlasting Daisy - Height: 20-80cm tall - Root Depth: Deep 30-50cm - Light: Prefer full sun exposure - Function: Provision of nectar for butterfly

Sun Exposure at noon (Sun at north)

Sun Exposure during sunset (Sun at west)

Sun Exposure at noon/ during sunset

PROJECT PROPOSAL

179

UNIT VARIATION KANGAROO ALGORITHM

Tetrahedron

Area Deconstruct Brep

Line

Pipe

Retrieve a specific item from a list

Perform a solid union on a set of Breps

Scale

Area

Mesh

Weaverbird Mesh Join

Weld Vertices

Weld Veritces

Flatten Distance

Area

Point

Closest Point

Brep

Mesh

radius = 3 relaxation = 0.6

Colour Mesh

radius = 4 relaxation = 0.8 180

PROJECT PROPOSAL

radius = 4.5 relaxation = 0.8

radiu relaxati

Returns the length for each edge of mesh

Merge data streams

Kangaroo Solver

Weaverbird Weave

Deconstruct Mesh Retrieve a specific item from a list

Naked Vertices

Bounds

Divide

Deconstruct Domain

Sort List

radius = 3 relaxation = 0.5

us = 5.0 ion = 0.8

Area Division

Scale

Mesh

Anchor

Retrieve a specific item from a list

Domain

Deconstruct Domain

radius = 3.5 relaxation = 0.7

radius = 5.5 relaxation = 0.7

Subtraction

Create a range of numbers

Retrieve a specific item from a list

radius = 3.5 relaxation = 0.7

radius = 6 relaxation = 0.5 PROJECT PROPOSAL

181

radius = 3 relaxation = 0.6 182

PROJECT PROPOSAL

radius = 6 relaxation = 0.5 PROJECT PROPOSAL

183

BUTTERFLY

BUTTERFLY COLOUR PERCEPTION

utterflies are proficient and flexible colour learners. Their colour perception has significant importance in contexts of nectar foraging, host-plant location and mate cognition. In regards of nectar foraging, butterflies show a strong innate preferences by rapidly learning to associate colours with nectar rewards and learning non-innately preferred colours as quickly and proficiently as they do innately with preferred colours. Butterfly demonstrates asymmetric confusion between specific colours which the second colour will be associated as a colour with sugar rewards. Furthermore, they can distinguish colours base on their wavelength, independent of intensity.

184

PROJECT PROPOSAL

Ultra Violet light

Pollination spots

Ice plant flower buds

Bee balm flower PROJECT PROPOSAL

185

Mesh Create Tile

Planes

Item

ADDING COLOUR INTO THE DESIGN LADYBUG ALGORITHM

Colour the Model

FINAL MODEL

186

PROJECT PROPOSAL

Deconstr Mesh

Explode Tile

ruct Deconstruct

Aggregation

Bounds

Deconstruct Domain

Gradient

Construct Mesh

Texture Maker

Colour Mesh

PROJECT PROPOSAL

187

STIGMERGIC AGGREGATION MERGING THE TWO CONCEPTS

Physarealm

Grasshopper

Agent Based Modelling

Nectar Trees Butterfly Behaviour

STIGMERGIC AGGREGA

Butterfly Initial population

Isosurface boundary Chromodoris

8 INPUTS

188

PROJECT PROPOSAL

2 DESIG CONCEP

Kangaroo Size of Plant - Unit Variation

Unit variation

3 axis water pipes unit

Wind Direction

ATION

GN PTS

- Pravailing wind in Winter (protect the butterfly eggs)

Unit Interconnection

Butterfly Favoured Colours

Fox

4 COMPUTATIONAL PROCESSES

PROJECT PROPOSAL

189

STIGMERGIC AGGREGATION T

he reasons behind merging the two ideas ‘Stigmergy’ and ‘Growth’ is because we wanted to create a stable base structure in order to support the tram stop. As the resulted structure has to be strong enough to provide structural rigidity, the base will be firm enough through combining the two ideas. Also, the combined idea can provide sun and rain shelter from East and West for people when they are waiting for tram. This defines an enclosed structure which protects people from climate conditions by providing blockage. Another reason of combining the ideas is to reduce the amount of units that are aggregated within the volume, this will allow easier transportation and assembly on site.

190

PROJECT PROPOSAL

191

Size of plant

Physarealm - Agent Based Modelling

Nectar Trees

Butterfly Final Population

3 axis water Butterfly Behaviour pipes unit

n = 2000

GrassHopper

Butterfly Initial population

Population Interconnection

n = 46

Physarealm - Agent Based Modelling

Butterfly Final Population n = 2000

Chromodoris

Isosurface

- Fast voxel isosurfacing

Orientation

Floral Arrangement

nd Direction

Kangaroo

- Mesh Relaxation

3 axis wate Bu pipes unit

GrassHopper

Fox

- Connection of units within a boundary

MESH

Division into ranges

Population Interconnection Relaxation (10 iterations)

Ranges Chromodoris (10 iterations)

- Fast voxel isosurfacing

GH Fox Isosurface Model- Connection of un Orient

within a boundar

Winter (protect the butterfly eggs)

Sun Orientation Wind Direction

Floral Arrangement

GH C Division int ranges

- Pravailing wind in Winter (protect the butterfly eggs)

FIN

INPUTS

OUTPUTS INPUTS

PARAMETRIC LOGIC SUMMARY 192

PROJECT PROPOSAL

Size of plant

er utterfly Favoured t Colours

MESH

Kangaroo

- Mesh Relaxation

Ladybug

nits - Texture Maker ry

Coloured Model Ranges to

(10 iterations)

Butterfly Favoured Colours

Relaxation (10 iterations)

Orient

Model

Ladybug

- Texture Maker

erging concepts Coloured Model

NAL MODEL

Merging concepts

FINAL MODEL

OUTPUTS

PROJECT PROPOSAL

193

194

PROJECT PROPOSAL

195

GENERATIVE PRO

196

PROJECT PROPOSAL

OCESS VIDEO

PROJECT PROPOSAL

197

C.2 PROPOS

198

PROJECT PROPOSAL

SAL DESIGN

PROJECT PROPOSAL

199

MATERIALITY

STEEL PIPES AND CONNECTORS

he structure consists of pipes and concrete. Galvanized pipes act as the main structure in both our prototype and the reality. The advantage of using steel is that it is durable and long-lasting. These pipes will be prefabricated at the factory and transported to the site. Workers on site will thread the fitting into the pipe so as to connect and hand tighten it. The pipe are connected to connector, connectors will then be connected to another pipe. While the middle connector is a proprietary element that will be tailor-made according to the angle between pipes. All the connectors are also galvanized in order to prevent corrosion.

200

PROJECT PROPOSAL

1 2 3 Single unit connection

45 45

90 45

Middle connector

Straight connector

PROJECT PROPOSAL

201

MATERIALITY

SELF-HEALING CONCRETE

s for the form of the units, self-healing concrete is used. We considered using normal concrete at first but then we found self-healing concrete which would be a better option for our project. As cracks are easily developed in concrete, the biggest advantage of using self-healing concrete is that it can self-heal to prevent cracks to develop. This kind of concrete has embed calcite-precipitating bacteria in the concrete mixture, this will create concrete that has self-healing capacities. Since our structure is exposed to an outdoor area, it is easier to develop cracks. With the use of self-healing concrete, it can minimize the possibility and number of cracks on concrete. In a long term, it can also raise the durability of concrete to lower the maintenance. Additionally, the complex geometry makes maintenance harder due to the difficulty of accessing those parts. When fabricating the prototypes, we used fabric as a form work to create the units. The concrete will wrap the pipes and aggregate to form the final structure.

Self-healing concrete

202

PROJECT PROPOSAL

Single unit connection

1. Pipes

2. Pipes with membrane

3. Pipes embedded in concrete

Fabrication processes of a single unit

PROJECT PROPOSAL

203

DETAIL DIAGRAM

Detail Connection

52.5 45 52.5 Mesh Input Sprinkler Water Output Drainage

600

1000

150

Detail of a single unit

Middle Connection

Straight Connection 45

204

PROJECT PROPOSAL

90 50

Connections of a series of units

PROJECT PROPOSAL

205

FABRICATION

ASSEMBLY OF PIPES AND STEEL CONNECTORS

UNIT CREATION

he units are created using three elements, the pipes, straight and middle connectors. The straight and middle connector will first be threaded into the fitting of a pipe. On the other end of the pipe, it will be connected to another connector. This process will be repeated in each unit so as to form the entire aggregation. Plants will then be placed above the middle connector.

Since there are restrictions of the design of connectors in the market, the middle connectors have to be proprietary and made in a steel factory so as to match our design. In our prototype, we use a curve connector as a temporary solution so as to mimic our desired middle connection.

206

PROJECT PROPOSAL

207

FABRICATION CONCRETE

MEMBRANE FORM WORK

membrane form work is the most optimal technique to form the concrete units with different relaxations. We tried to achieve this by using a flexible cloth. We have been trying different fabrics, like polyester, nylon and cotton. However, it is difficult to find a suitable fabric that is stretchable enough for our form work. After we found a piece of elastic fabric, we stitch it into specific shape and size so as to

PIPE FORM WORK

his technique is a pseudo process trying to form a similar shape of concrete as membrane form work. At first, we use plastic pipes to form the form work for the arms. We poured in plaster at all the arms and left a hole above the middle connector in order to leave space for the plant. The middle relaxation is done manually in the prototypes. In reality, the relaxation part will be done by membrane form work.

208

PROJECT PROPOSAL

wrap the pipes. However, we found this method is too complex because we will need to build a frame to pull the membrane in tension with cables.

10b

PROJECT PROPOSAL

209

PROTOTYPE

PERSPECTIVE @ SCALE 1:4

210

PROJECT PROPOSAL

211

PROTOTYPE

AREIAL VIEW @ SCALE 1:4

212

PROJECT PROPOSAL

213

PROTOTYPE

LARGEST RELAXATION ACCOMMODATING THE LARGEST FLOWER @ SCALE 1:4

214

PROJECT PROPOSAL

215

PROTOTYPE

MEDIUM RELAXATION ACCOMMODATING MEDIUM FLOWER @ SCALE 1:4

216

PROJECT PROPOSAL

217

PROTOTYPE

SMALLEST RELAXATION ACCOMMODATING THE SMALLEST FLOWER @ SCALE 1:4

218

PROJECT PROPOSAL

219

PROTOTYPE

AGGREGATION UNITS IN DIFFERENT RELAXATION (NOT TO SCALE)

220

PROJECT PROPOSAL

221

C.3 FINAL DE

222

PROJECT PROPOSAL

ETAIL MODEL

PROJECT PROPOSAL

223

INCORPORATING DESIG

224

PROJECT PROPOSAL

GN INTO HUMAN SCALE

PROJECT PROPOSAL

225

PLAN

226

PROJECT PROPOSAL

227

SECTION

228

PROJECT PROPOSAL

229

NORTH ELEVATION

SOUTH ELEVATION

230

PROJECT PROPOSAL

EAST ELEVATION

WEST ELEVATION

PROJECT PROPOSAL

231

DIAGRAM OF ANALYSIS BUTTERFLYâ&#x20AC;&#x2122;S VISUAL EFFECT

232

PROJECT PROPOSAL

233

DIAGRAM OF ANALYSIS SHADOW - SUMMER SOLSTICE 10AM

234

PROJECT PROPOSAL

235

DIAGRAM OF ANALYSIS SHADOW - SUMMER SOLSTICE 3PM

236

PROJECT PROPOSAL

237

DIAGRAM OF ANALYSIS SHADOW - WINTER SOLSTICE 10AM

238

PROJECT PROPOSAL

239

DIAGRAM OF ANALYSIS SHADOW - WINTER SOLSTICE 3PM

240

PROJECT PROPOSAL

241

DIAGRAM OF ANALYSIS FABRICATION PROCESS DIAGRAM

242

PROJECT PROPOSAL

243

Aerial View

244

PROJECT PROPOSAL

245

246

DETAILED DESIGN

PROJECT PROPOSAL

247

248

PROJECT PROPOSAL

249

250

PROJECT PROPOSAL

251

252

PROJECT PROPOSAL

253

254

PROJECT PROPOSAL

255

256

PROJECT PROPOSAL

257

SITE MODEL

258

PROJECT PROPOSAL

259

260

PROJECT PROPOSAL

261

262

PROJECT PROPOSAL

263

264

PROJECT PROPOSAL

265

266

PROJECT PROPOSAL

267

268

PROJECT PROPOSAL

269

270

PROJECT PROPOSAL

271

272

PROJECT PROPOSAL

273

C.4 LEARNING OUTCOMES

OBJECTIVE 01 INTERROGATING A BRIEF

OBJECTIVE 03 DEVELOPING SKILLS IN VARIOUS THREE-DIMENSIONAL MEDIA

When compare to the interim presentation, we had a clearer idea when we moved on to our final design. As we received some useful and valuable comments from guest and tutor, we improved our design based on their feedback. We have been checking out the brief as we move on so as to make sure we are on the right track. Through documenting all the work we did in a systematic way, it helps us a lot in clarifying our design process. The most useful chart will be the Aggregation chart in Design Concept Three which we documented the work flow in grasshopper so as to give ourselves and also audience a clearer picture of our whole project.

Studio air has been a very tough and intensive subject because it demands us to work on few complicated things at the same time. I have been diagramming for our group that my Adobe Illustrator skills have improved a lot since I barely used it before. I have also know more about the methods of fabrication because it is my first time attempting 3D printing. A parametric model can be realised through 3D printing is very intriguing. Sketchup was also used to do some of the detailed diagrams which was also new to me since I have never used it before.

OBJECTIVE 02 DEVELOPING AN ABILITY TO GENERATE A VARIETY OF DESIGN ITERATIONS

OBJECTIVE 04 DEVELOPING AN UNDERSTANDING OF RELATIONSHIPS BETWEEN ARCHITECTURE AND AIR

We have been changing a lot of designs and concepts since the interim presentation. As we changed from the three-layer design to a single-layer of unit aggregation, we have been generating iterations about the single unit, the overall form, the connections between units, relaxation of the units etc. After the interim presentation, we have been looking for some suitable and applicable quantitative inputs to implement them into grasshopper. We have at least use 4 plugins in total to generate our final design, this includes the Chromodoris, Fox, Physarealm and Kangaroo. By understanding these plugins, it aids us in generating iterations in a more effective way.

It is obvious that there is a strong relationship between computational design in air and architecture. The most powerful aspect about computational design is that it allows us to design things in a high complexity without considering the constructibility in real life. This is also why we need to bare in mind the feasibility through making different prototypes to test out which material and method we should use in fabrication. The failure of the membrane form work is a good example that we have neglected the time constrain and feasibility in reality so we have to consider an alternative to realize our prototype, this is a valuable lesson to remind us to be mindful of the constructability of prototypes.

274

PROJECT PROPOSAL

OBJECTIVE 05 DEVELOPING THE ABILITY TO MAKE A CASE FOR THE PROPOSALS

OBJECTIVE 07 DEVELOP FUNDAMENTAL UNDERSTANDINGS OF COMPUTATIONAL GEOMETRY, DATA STRUCTURES AND TYPES OF PROGRAMMING

We have showed quite a lot of butterfly quantitative implementations in the final presentation which was also what we have improved since the interim. We have developed a lot and constantly proved our design, this is also a way to consolidate our idea and proposal. I think through reflecting on designs and thinking ways to improve has assist in my ability to make a case for proposal.

I have definitely improved a lot on my computation skills throughout the whole semester. Before taking air, I have no clue about grasshopper and I am even a bit scared of computational design as it is sometimes quite difficult understand the logic behind how it works. However, as I know more about it now, I am not reluctant to computational design because I have gain confidence in working in grasshopper in this semester.

OBJECTIVE 06 DEVELOP CAPABILITIES FOR CONCEPTUAL, TECHNICAL AND DESIGN ANALYSIS OF CONTEMPORARY ARCHITECTURAL PROJECTS

OBJECTIVE 08 BEGIN DEVELOPING A PERSONALISED REPERTOIRE OF COMPUTATIONAL TECHNIQUES SUBSTANTIATED BY THE UNDERSTANDING OF THEIR ADVANTAGES AND DISADVANTAGES AND THE AREAS OF APPLICATION

Our attempt in prototypes was using steel pipes as structural members and concrete to create the form of units. At first, we only focus on how the relaxation can be done in concrete to create relaxation variations. However, at the time we started prototyping, we found that the length of the pipes can also be another way of creating different sizes of units. Therefore, we implemented the varying size of units afterwards that it turns out quite nice.

Computational design enabled us to 3D print our models in different scales to show different resolutions of the project. By utilizing all the skills I learnt from this subject, like working with partners, learning from online tutorials, searching for resources online etc. I believe that we will be able to realise 3D model in the physical world

PROJECT PROPOSAL

275

C.5 APPENDIX

276

DESIGN CRITERIA

277

C.6 REFERENCE Achim Menges, Morphogenetic Design Experiment (2012), Permanent Collection, Centre Pompidou Paris, accessed 13 March, 2018, http://www.achimmenges.net/?p=5083 Andia, Alfredo and Thomas Spiegelhalter, Postparametric automation in design and construction, (Boston : Artech House, [2015]), p. 62. Beesley, Philip, Hylozoic Ground : liminal responsive architecture ([Cambridge, Ont.] : Riverside Architectural Press, c2010) Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) Fortmeyer, Russell and Charles D. Linn, Kinetic Architecture: Design for Active Envelopes (Mulgrave, Victoria Images Publishing Group, 2014) Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) McQuaid, Matild, Santiago Calatrava, Structure and Expression (New York: Herlin Press) Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013) Sell, Jill, Interactive architecture is changing how we live, work and play, (2016), accessed 5 March, 2018, http://www.cleveland.com/pdrealestate/plaindealer/index.ssf/2016/04/interactive_architecture_is_changing_how_we_live_work_and_play.html Schumacher, Patrick, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011) Tzonis, Alexander, Santiago Calatrava: the poetics of movement (New York : Universe, 1999). Voros, Joseph, A generic foresight process framework (Foresight, 2003) Washabaugh, Bill, quoted in Bruce Sterling, Diffusion Choir (2016), accessed 7 March, 2018, https://www.wired.com/beyond-the-beyond/2016/10/diffusion-choir/ Wilcox, John, quoted in Robert Crawford, On Glasgow and Edinburgh (Cambridge: Massachusetts:1959) City of Melbourne. ‘Lincoln Square Concept Plan’, City of Melbourne, <https://participate.melbourne.vic.gov.au/lincolnsquare#/>[5 June 2018] City of Melbourne. ‘Lincoln Square Concept Plan’, City of Melbourne, <http://www.melbourne.vic.gov.au/building-anddevelopment/urban-planning/local-area-planning/Pages/lincoln-square.aspx>[5 June 2018] City of Melbourne. ‘Plan to improve one of Melbourne’s Historic Carlton Squares’, City of Melbourne, <http://www.melbourne.vic.gov.au/news-and-media/Pages/plan-to-improve-one-of-melbournes-historic-carlton-squares.aspx>[5 June 2018] Scripps Networks Digital. ‘Butterlfy Garden Flowers’, Scripps Networks Digital <https://www.hgtv.com/outdoors/flowersand-plants/flowers/butterfly-garden-flowers-pictures> [5 June 2018] The Company of Biologists. ‘Journal of Experimental Biology’, The Company of Biologists <http://jeb.biologists.org/content/214/3/509> [5 June 2018] TU Delft. ‘Self-Healing of Concrete Mineral Precipitation’, TU Delft, <https://www.tudelft.nl/en/ceg/research/stories-ofscience/self-healing-of-concrete-by-bacterial-mineral-precipitation/>[5 June 2018]

278

PROJECT PROPOSAL

279